Game: Spec Ops: The Line
Recommended price: $10
Metacritic Score: 76
Completion Time: 6 hours
Buy If You Like: Kane & Lynch-esque cover-based military shooters
Spec Ops: The Line is an over-the-shoulder cover-based military shooter that seeks to subvert the tropes of its genre. You control Captain Adams, tasked with commanding your two Delta Force squad mates in search for what happened to Colonel Konrad and the rest of the 33rd Battalion. The search leads them into the ruined city of Dubai, which appears to have devolved into anarchy after a series of epic sandstorms cut it off from the rest of the world.
After killing some insurgents whom had taken members of the 33rd hostage, the mission starts to go pear-shaped when the very soldiers you are trying to save confuse your team for CIA operatives who have been riling up the insurgents. From there, things just keep getting darker and darker as you continue taking completely rational steps towards a line you did not realize you already crossed hours ago.
I was interested to play Spec Ops precisely because I heard about its subversive themes. What I discovered though, is that I have seen this all before in Far Cry 2 and Kane & Lynch 2: Dog Days. In fact, Kane & Lynch is the perfect analog here despite approaching from the opposite side of the legal spectrum: both games are over-the-shoulder cover-based shooters whose scenarios start off as reasonable before relentlessly veering into the absurd. What seems like a natural progression or escalation of violence suddenly sickens you once you realize what exactly you are doing. How did I go from killing insurgents to killing Americans? Why am I looking forward to the next cover-strewn environment so I can use my grenade launcher to kill even more soldiers?
The eponymous “Line” referred in the game title probably refers to one specific incident (that I won’t spoil), given how long it was dwelt upon, but I personally found it curiously ineffectual. At first, I didn’t even realize that my actions caused the incident in question, and even after I wasn’t particularly convinced player agency was involved. In spite of that, the game does a great job in fostering a sense of nihilistic fatalism. The situation becomes so FUBAR that it almost doesn’t matter what else you do at that point. And then you, the human player behind the screen, start to realize what that means for soldiers in real situations out in the world.
I am sympathetic to the argument that perhaps some reviewers give Spec Ops: the Line too much credit. While the gameplay doesn’t noticeably change, I absolutely felt fatigued by the end of the six hour story campaign. Construing that fatigue and feeling of pointlessness as being intentional artistic designs, might be a little too clever an excuse to take seriously; it sort of hand-waves away any possibility of bad game design, and feels a bit too convenient besides. If you are willing to give the designers the benefit of the doubt though, it is certainly an effective plot mechanism… just as it was in Far Cry 2 and Kane & Lynch.
Ultimately, I feel Spec Ops: the Line as an experience is worth a bit more than my usual limit for these shorter games. The visuals are amazing, the interaction with your squad is superb, and the setting is both unique and artistic. You might feel drained and depressed by the end, but at least you felt something – a feeling that might actually persist beyond turning the system off. Which is more than I can say for a lot of the games I have played.