![]() I largely ignored Spec Ops: The Line simply because of its uninspired title and the general sense that it was yet another over-scripted, patriotic America-Defeats-The-World rollercoaster. Nothing in any recent war game came anywhere near to the shocking, revelatory and humbling D-Day beach landing on MoH:AA or the courageous, subtly heroic bridge defence in the original Call of Duty. I rather longed for the old days, when Medal of Honour: Allied Assault and the original PC Call of Duties were about the fighting and the soldiers rather than Hollywood blockbusterising. The black and white, casual killing of the aerial targeting sequence wasn’t satirising the clinical bloodthirstiness of real world tech that had transformed the Iraq war into a perceived computer game by its invading combatants it was just a bloodthirsty sequence that thought it was cool.Īs the series continued to embrace linear, scripted movie sequences (and as its supposed competitors, such as Battlefield 3, copied it shamelessly and impotently) I rapidly lost interest in the entire war genre. With each sequel it became increasingly evident that much of my praise for the game’s narrative had been me projecting. I thought it was a hugely entertaining blockbuster romp with a few gut-wrenching, daring narrative moves that showed the futility of war (the nuke) and even a neat line in dark satire (the aerial targeting sequence). I played Call of Duty: Modern Warfare and rather enjoyed it. If you’ve been ignoring Spec Ops: The Line because of its lamely generic title, leave your prejudices at the door and read on.
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