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Spec ops the line xbox 3603/16/2023 Maybe Yager's intention was not to entertain, but to engage in other, more unexpected ways. I mentioned that the gunplay itself isn't even all that great, and maybe it's not supposed to be. Many of them were senseless in the grand scheme of things but needed to be done, for one reason or another. Like Walker, we've already committed countless acts of brutality. – as well as a slate on which the player can project his or her own emotions. Walker's impenetrable reaction to the aftermath of the incident demonstrates that he is a perfect marriage of player and protagonist, at once a fully-realized character – with a voice, a backstory, etc. They simply allow these events to happen. To me, Yager wins points by never glorifying nor sensationalizing the game's violence. Yager doesn't pull any punches in showing us the grim details, and you have to wonder, for a moment, whether there's any sense in framing a war-is-hell narrative around a shooter, one in which we're forced to gun down hundreds of people before the credits roll. In a well-foreshadowed but nevertheless shocking turn of events, Walker and company do something that, unbeknownst to them at the time, has heinous consequences. Even Walker, who wants to save people, only seems to be making things worse the longer he stays in the city. The battalion wants to maintain order but must resort to lethal extremes to do so, the locals have rebelled against people who are trying to help them, and the CIA wants to bury a mess that could quite easily trigger hostility between the United States and the UAE. Developer Yager draws up a fascinating warzone in which every side of the conflict believes it's doing what's right, and no one can truly be sympathized with. Captain Martin Walker is then sent in with a small recon team to examine the situation, and it's not pretty. We initially sent in a battalion to aid the survivors, but then evacuation failed, the United Arab Emirates declared the city a no man's land, and communication with our forces halted. The setting is Dubai, months after the once-overcompensating city was ravaged and partially buried by an enormous sandstorm. It's heavy stuff, and plenty of films and memoirs have documented the horrors of war already, but I don't think anyone's ever done it quite like this. (The soundtrack is even full of Vietnam-era rock songs, so I can't imagine that the many parallels are a coincidence.) In short, The Line studies a hardened soldier's decaying mental status in the face of nonstop warfare – the terrible things he sees, the terrible things he's forced to do, and the horrific actions carried out by people who have already traveled the road he's walking. That alone might be too much information, since the game shares plenty of immediate similarities with the novel's most famous adaptation, Apocalypse Now. The Line is one of the many works of fiction inspired by Joseph Conrad's Heart of Darkness. So if I want to express my enthusiasm for this game without spoiling anything, all I can say is, "Wow, that thing sure happened!" To make matters more complicated, as a third-person cover-based shooter, The Line is nothing special, which makes it weird that I'm recommending it as strongly as I am, and mighty difficult for you, I imagine, to take my word for it. I genuinely believe that every serious gamer should play Spec Ops: The Line, yet it's mostly for plot-related developments that players are better left to discover on their own. You've personally been walking over hundreds of corpses all day, and making hundreds more. "And as the mission continuously goes awry and takes an increasing toll on Walker's physical and mental stamina, what was once black-and-white starts to look suspiciously grey.
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