The Call of Duty Zombie Story

In Shi No Numa, a radio mes­sage can be heard in the start­ing room by turn­ing on three radios. The mes­sage is:

R-4808n 37 14 06 115 48 40. I hope that you are receiv­ing this trans­mis­sion Peter, if not then all has already been lost. You must know by now that we failed to con­tain the Asy­lum and we had to move the exper­i­ment here. Loca­tion: the num­bers will guide you. The giant must remain (sta­tic) at all costs, repeat, Der Riese must remain (sta­tic) at all costs. The DG exper­i­ments con­tin­ues. You’re our only advan­tage now. Find Doc­tor Richtofen (sta­tic is in this word, but it is still audi­ble) and Doc­tor Max, they may know what’s going on. The use of 115 is dan­ger­ous at best. I’m not sure how much longer we can con­tinue here. We’ve lost most of our best peo­ple. I hope you get this. I hope I hap­pen to be there too but I’m almost out of hope. 60 54 06.96 101 55 44.94.“
— Shi No Numa radio message.

The num­bers are the coor­di­nates of Tun­guska (end of mes­sage) and Area 51 (begin­ning of mes­sage). Dr. Max is Dr. Maxis. “DG exper­i­ments” is a ref­er­ence to the Wun­der­waffe DG-2. The asy­lum is the set­ting of the sec­ond level, Ver­ruckt. 115 is ele­ment 115, an ele­ment found in mete­ors and known to power the Wun­der­waffe. A meteor con­tain­ing 115 is shown in the map Shi No Numa out­side one of the swamp areas. A meteor can also be seen on the moon in Der Riese and Ascen­sion. Kino der Toten con­tains three frag­ments of a meteor that, when acti­vated, play the musi­cal easter egg, right­fully named 115. Peter is secretly an Amer­i­can agent and Tank was sent to recover him.

In Der Riese, the cre­ation of the Zom­bies and Hell­hounds is explained. Dr. Maxis was test­ing Zom­bies for the gov­ern­ment project chris­tened “Der Riese” or “The Giant”. He was test­ing tele­porters by send­ing peo­ple and/or dogs through them. They reap­peared at the main­frame, but had been turned into Zom­bies. He tried to con­trol the Zom­bies, but the prob­lem was that they would always go berserk and try to kill him, result­ing in their death. All of these exper­i­ments were done with his assis­tant, Dr. Edward Richtofen. When he used his daugh­ter Samantha’s dog, Fluffy, as a tele­porter test sub­ject, he acci­den­tally cre­ated the first hell­hound. The dog was tele­ported, but like the rest of the sub­jects, she reap­peared at the main­frame zomb­i­fied. When Saman­tha came run­ning in and started ques­tion­ing her dad about her dog, Richtofen left the room. Richtofen then betrayed him by lock­ing him and his daugh­ter in the room with the hell­hound, which was orig­i­nally believed to have killed them. Richtofen let loose the zom­bies on the fac­tory, as on another radio mes­sage the player can hear screams and the sounds of Zom­bies moan­ing and attack­ing. Another radio mes­sage explains how hell­hounds increased in quan­tity; in it, Maxis talks to his daugh­ter about Fluffy’s preg­nancy. In Call of Duty: Black Ops it is revealed that he and the other three playable char­ac­ters sur­vived the events at Der Riese and time-traveled to a Nazi the­ater, where they con­tinue to fight Zombies.

In the intro­duc­tion to Kino der Toten, Richtofen reveals that he knows much more about the energy cre­ated by 115, and that he was excited to learn that it was also capa­ble of time travel. He seems uncon­cerned that he and his part­ners have been tele­ported to Nazi Ger­many in an unknown year.

Doc­u­ments from vbush detail more of the story. They reveal that the ray gun was cre­ated by Maxis while the Wun­der­waffe and the Mon­key Bomb were cre­ated by Richtofen. As the exper­i­ments with 115 con­tin­ued, Maxis noted that Richtofen had started act­ing increas­ingly insane and that he feared for his and Samantha’s lives and regret­ted invit­ing him to join the group. Maxis also wrote that he and Sophia were attracted to each other. One of the other doc­u­ments also reveals that Tank, Niko­lai, and Takeo had their mem­o­ries wiped by 115 and were being observed by Richtofen. It is also pretty appar­ent from the load­ing screen for Nacht der Untoten in Black Ops that some­one (iden­tity unknown) tried to use Soviet mem­ory mod­i­fi­ca­tion tech­nol­ogy to try and con­trol the zombies.

Some­time prior to Ascen­sion, Yuri Kravch­eski was trans­ferred to work on send­ing mon­keys into space, much to his dis­may. His trans­fer was caused by his supe­rior, Ger­sch, who he holds a grudge against. As the radio mes­sages progress, Yuri notices the teddy bear and the Matryoshka dolls and won­ders how a child could be let into the sta­tion. It is assumed Saman­tha Maxis brought these items and that she then dri­ves Yuri insane. Yuri, in his state of insan­ity, fin­ishes the Ger­sch Device and has Ger­sch acti­vate it, let­ting in the zom­bies and seem­ingly killing Ger­sch. Yuri soon real­izes his mis­take and is heard scream­ing at the end of the last recording.

After the events of Kino der Toten, the main char­ac­ters some­how reach the aban­doned Soviet launch pad in Ascen­sion. When the game starts, the four are land­ing in the start­ing room on the lunar lan­der as the color turns to black and white (which the char­ac­ters acknowl­edge). The char­ac­ters then hear Ger­sch, who tells them that the mech­a­nism must be repaired. He is refer­ring to the Kas­simir Mech­a­nism, which must be repaired by com­plet­ing dif­fer­ent tasks. After all of the tasks are com­pleted and the mech­a­nism is repaired, Ger­sch is free and gives the play­ers 90-second death machines.

While the events of Ascen­sion are occur­ring in Rus­sia, the events of “Five” are also unfold­ing in the Pen­ta­gon. While John F. Kennedy, Robert McNa­mara, Fidel Cas­tro, and Richard Nixon are nego­ti­at­ing, Zom­bies break into the Pen­ta­gon with only the four of them left to fight them. While fight­ing, they call the char­ac­ters in Ascen­sion using three red tele­phones spread across the Pentagon.

 

This arti­cle uses mate­r­ial from the “Kas­simir Mech­a­nism” arti­cle on the Call of Duty wiki at Wikia and is licensed under the Cre­ative Com­mons Attribution-Share Alike License.

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