![]() That scene was both compelling and mortifying in equal measure, what challenges did you face when depicting something so horrific? Jordan Garland: To anybody who has completed Spec Ops: The Line, the stand-out scene in the game has to be White Phosphorus. You have been warned: h uge, bone-crushing spoilers below. Last month I gave Spec Ops: The Line 9/10, the best score of any game I’ve played this year, so here’s our chance to dig deeper and walk The Line with one of it’s main creators. Games don’t come with a ‘Director’s Commentary’, so hopefully our Aftermath will help plug that gap.įor the first edition, I’ve been in discussion with the Lead Writer of the truly fantastic Spec Ops: The Line, Walt Williams. It’s always seemed unfair to me that, for the most part, once a game is released then the reviews are the final source of information beyond playing the game itself. It’ll be a no holds-barred, warts and all look at the game for those who have already completed it and want extra insight into the creative process straight from the horse’s mouth. A sterling effort.So this is going be the first in a new series of interviews which I’m calling Aftermath, in which I’ll be taking to key creators of recently released games, with a twist. ![]() The Line doesnt reinvent the concept of third-person shooters, but in presenting players with interesting characters, a gripping story and fun gameplay, it certainly refines it. Its a game thats challenging without being frustrating, and gives you the right toolset to best exploit your surroundings. Targets can be pointed out to your squadmates, windows can be shattered to bury enemies in the sand raging outside and theres even an element of stealth that can be employed. The third-person run-and-gun action is fast-paced, enemy AI patterns keeping you on your toes without being overwhelming. The characters have depth, their experiences matter, and because of that, the player is more engaged despite the predictable gameplay so endemic of the genre.Īs far as that straight-up shooting goes, Spec Ops is a rousing success. Its a shooter with more than just a story its one where your actions not in battle but at key decision moments change the flow. A nice excuse for enemy forces on what starts as a rescue mission then, but whats impressive is the twists the narrative takes. Sent in to investigate a distress beacon from a long-thought dead US Army evacuation mission, all hell breaks loose when your three-man squad uncovers something dastardly going on in the heart of the desert. ![]() Set in an almost deserted Dubai following a devastating series of ferocious sandstorms, the game takes on an air of the fantastic, the opulence of the desert city lending a touch of Prince of Persia to the proceedings. Where it succeeds is in how its all put together though a revision of the recipe, if not the ingredients. Spec Ops: The Line is certainly guilty of all of the above, to greater or lesser degrees. Essentially, youve seen one, youve seen them all, right? Well, not quite. Be it first or third person, the gameplay in shooters has become so standardised that players will know the controls more or less straight away, and whatever passes for a plot serves only as an excuse to have enemies pop up to eat bullets.
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