The line was released in 2012, with military shooters still at the height of their prowess. Just five years after Call of Duty: Modern Warfare, creating a military shooter during this imperial phase was generally presented as an objective quest for authenticity wrapped in a flag of solemn respect for soldiers, uneasy. A dual approach designed to avoid questions surrounding respect for style and glorification of the military-industrial complex.
Unlike its contemporaries, Spec Ops refused to shy away from uncomfortable questions. Admittedly, it's a bit s***ed up to enjoy video game violence. Then it goes a step further: it seems to actively despise its existence. Throughout its single-player campaign, Spec Ops: The Line remains unwavering in its commitment to the idea that not only is the protagonist of a military shooter a psycho, but that it reveals something profound about our demand for and their enjoyment. Is our culture.
Developed by German studio Eager Development, which previously created the sci-fi flight combat game Eager (2003), and published by 2K Games, Spec Ops: The Line tells the story of Captain Martin Walker, the playable character and his two squadrons. Companions, Sergeant John Lugo and Lieutenant Alfonso Adams, a Delta Force team on a reconstruction mission in the heart of sandstorm-ravaged Dubai. They are attempting to make contact with Colonel John Conrad, the commander of the 33rd Infantry Battalion, who was leading relief efforts in the city until the storm broke all communications and the UAE government declared Dubai a "no man's land". "Named. The Konrad name is on. -Heart of Darkness author Joseph Conrad, a late 19th-century novel that criticized imperialism and provided the inspiration for the Vietnam War film Apocalypse Now.
Walker & Co. is sent to investigate when a radio message finally emanates from the dust-covered city: "This is Colonel John Conrad, United States Army. The attempt to evacuate Dubai was a complete failure. Death toll Very much." When they arrive, the three find themselves embroiled in a three-pronged struggle for power between Konrad's loyalists, an isolated group of 33rd soldiers rebelling against Konrad, and the CIA-backed locals, who kill Konrad. Trying to run—and really every American—out of their city. What started out as a straightforward defense quickly becomes more complicated. As events develop, and facts slip from their grasp as sand between fingers, Walker, Lugo and Adams try to remind themselves that they must stick to the mission. Adams says, "Anyone thinks we should try to talk to these guys again? I mean, we came here to save them." But, slowly, as the bodies pile up, inevitably they find themselves unable to understand what that mission is. Man, we're way past that point," Lugo replies.
As a third-person shooter, Spec Ops adopts many of the gameplay features of the genre. In this sense, it follows the formula and opposes experiment. Walkers would stick to cover with a press of a button, in the same way that Gears of War became popular a few years ago. Similarly, you aim with the left trigger and shoot with the right trigger. Holding A watches Walker sprint, B vaults over cover, X hits enemies at melee range, and Y throws a grenade. Squad commands are minimal and context-sensitive; You can tell Lugo and Adams to prioritize specific targets with the tap of a button, but otherwise they end up doing little work and leaving the shooting to you.
Mechanically, it must be said, Special Ops: Line is capable but not particularly interesting. Where it is notable, however, lies in its criticism of its narrative and wider medium. This partly attracted video game critic Brendan Keogh to write a book about it. In 2012, a few months after the game's release, they published "Killing Is Harmless", a 50,000-word critical reading of Spec Ops: The Line. Keogh wrote in to explore how it raises curious questions about why we enjoy video game violence and the way in which players can consider their own complicity in perpetuating virtual warfare.
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