The controls are fairly straightforward: LT and RT are aim and shoot respectively, Y switches weapons, A snaps the player to cover, X is reload, B is a melee attack or it vaults the player over nearby walls and LB activates thrown projectiles. Unfortunately, the gameplay augmenting all the action in the story is nowhere near as well realised. This bizarre clash of opulence and gore lends the city an otherworldly atmosphere and feeds into the unhinged mood of the story. The next, they're standing in the lobby of a hotel staring up at two giant gold giraffes that flank a marble staircase in front of them, as fish swim in an aquarium in the floor beneath their feet.
One minute, Walker and his men are wading through a mass grave, knee deep in charred corpses. The game's Dubai may lie in ruins, but what of it that remains in tact sits garishly next to the grisly scenes it houses. The sense that madness has been allowed to run riot is compounded by the fact that all of this horror is surrounded by the remnants of a bastion to luxury and affluence.
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These signs of order breaking down in the city soon give way to scenes of abject trauma, testing the resolve of Walker and his men, whose core relationship soon begins to crack under the strain of what they're seeing around them. They come across refugees who fire at anyone wearing a US army uniform, dead bodies strung up from lamp-posts and overpasses and walls covered in the pictures of lost loved ones. Instead, Yager is aiming for grittier territory in Spec Ops: The Line, which forgoes the usual machismo of a game of this type for something far darker Apocalypse Now – and, by extension, Joseph Conrad's Heart Of Darkness – looms large over the proceedings.Īs Walker and his men head into Dubai, they soon become aware that something very disturbing has taken place in the wake of Konrad's arrival in the city. Unlike other shooters featuring the modern military, the game's story takes few cues from contemporary action cinema, the odd epic gun battle notwithstanding. There's hardly an ounce of fat on the story and, even though Spec Ops: The Line has a couple of glaring issues in how it plays, the player never feels like they're being shunted from one room to another in order to activate another drab cutscene. The game's opening salvo unfolds in mere minutes and this set-up is typical of the drum-tight pacing of the game's plot. The team consists of Adams, a heavy gunner Lugo, a mouthy sniper and their commanding officer, Captain Walker, a man who served under Konrad in Afghanistan and considers him both a hero and a patriot. To that end, it dispatches a three-man Delta Squad to Dubai to find out the reason Konrad isn't answering their attempts to contact him. That was some time ago and it turns out that that US high command hasn't heard from the 33rd, or its commander, Colonel Konrad, in quite some time.
After an appeal was sent out, a US army regiment called the 33rd diverted their progression home from Afghanistan and headed into the buried city. The chase ends in a crash, and then the plot flashes back to a few weeks earlier.ĭubai, it turns out, is in ruins after a cataclysmic sandstorm demolished a lot of the city, and cut it off from the outside world.
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The contemporary trappings of the soldiers and the high-octane feel of the scene immediately recall the CoD: Modern Warfare games, but a closer inspections reveals something else the back and forth between the player's character and his AI pilot ally sounds strained and cracked – a million miles away from the professional zeal of CoD's soldiers. As the chase unfolds, the player inevitable tears through buildings and rips up rooftops with high-calibre rounds as they try to fend off their attackers. The player controls a soldier firing a chaingun from the door of a chopper as enemy copters swarm and buzz the vehicle. The game opens with a rather stunning set-piece involving a helicopter chase through the rooftops of Dubai.
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