In execution, these setpieces comprise but a handful of spectacled transitions as glass implodes under heavy fire, causing an almost hourglass effect of environmental terrain shifting. For a 2012 game, the developers touted the revolutionary sand technology that helped dynamize and change shooting environments on the fly, embracing the idea of an almost supernatural sandstorm plaguing modern day Dubai. Time has not been kind to the graphics and mechanics that Spec Ops: The Line offers.
Because although Spec Ops: The Line’s gameplay is mediocre and repetitive, robbing me of the initial sense of awe that people describe when referencing this game, the story’s moments of moral quandary stand above nearly any other installment in the shooter genre. Spec Ops: The Line is a third-person shooter that addresses several concerns raised in that article that I think are worth exploring in depth. There are hundreds of games that anchor shooting guns as their primary mode of interacting with an environment or narrative, but few ask the player to reconsider their relationship to the core gameplay tropes of shooting waves of enemies before clearing an area to progress. In 2018, I argued for a few select examples of first-person shooter games that utilized their mechanics to help develop their storytelling. Yet, I didn’t feel that way when I first finished the game. Spec Ops: The Line, however, is often regarded as a thought-provoking exception to that rule. Most of the time, the shock value is the only thing that cuts through the experience, causing only the shock to be memorable, as too many shooters fall into identical patterns of gameplay. Many games in this genre, like the annualized Call of Duty franchise, evoke moments of shock value purportedly under the auspice of provoking player contemplation, but these moments are few and far between. This is not a denigration of the genre itself, but rather a commentary on the overreliance of game design tropes to require the player to shoot their way through a story. The military shooter genre has been oversaturated for as long as video games have been rendered in 3D environments. There are some of us who feel we have no choice, some of us who see no other choice, some of us who try to make the right choice and it still goes bad, and those who just want to cause chaos.“To kill for yourself is murder. To me, that's the true brilliance of this game. Shooting the hanging civilians, leaving them be, shooting snipers) says something about you as well. So the face that it makes you feel you have no choices although you would've had three by that point(shooting the soldier, letting him go. Yeah there's a choice between rescuing the civilians or saving Gould, but both choices end bad. There's a great line where Lugo says, "There's always a choice" and Walker responds, 'No, there really isn't." All your choices end up with bad consequences. In my interpretation of this game, this is literally what the developers had in mind. There was one part where it seemed I had to decide between Captain Gould and the refugees, but I couldn't really see what else I could do other than shoot the captors, Originally posted by Berk:I'm up to chapter 9 yet I don't think I've made a single decision yet.
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