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Leaving seems, in the end, the only rational and morally sane choice. You can never leave Dubai in the game obviously that would end the game prematurely, but this “option” is brought up numerous times by Walker’s team and the rogue Battalion commander. While neither choice stops the game cold, either one has its own moral caveats. There is a point where you are offered a choice, shoot the civilian stealing water or the soldier who killed the civilian’s entire family in retaliation. This is never clear until the end of the game, but along the way you begin to realize something is terribly wrong with Walker’s moral compass, or should I say – your moral compass.
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Without giving away the ending of the game, there is a heavy emphasis on severe psychological trauma to the main character including hallucinations and dissociative disorder. You think that Call of Duty has done that and shrug at me, but the psychology of how this game presents death and war is something completely different. Unless you want severely desensitized children. If you haven’t figured it out by now, this is not a game for children. Decaying bodies, commanding officers burnt alive, CIA agents tortured and more imagery of death to push Walker and by proxy, the player, to a point of moral indecision. To this point though, you have seen the wake of death and destruction that the rogue soldiers have left. This isn’t casual the game makes a point of twisting the plot in directions that are clear cut results of your actions. As you progress through the game, you start to wonder if what you are doing – shooting American soldiers – is actually the right course of action. The city of Dubai has been buried in sand and a Battalion commander has taken over in true jungle dictator style. The game, developed by Yager Development and published by 2K Games, pulls heavily from Joseph Conrad’s Heart of Darkness or – if you prefer – Apocalypse Now. The story of Spec Ops: The Line isn’t too heavy in itself. This scene, coupled with a few others I’m about to describe, serve well to carry the emotional impact of the game. He goes blank for a moment as his squad-mates argue. Your character, Captain Walker, is definitely disturbed by this.
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What is clear is the skin burnt off, jawbones exposed, mother clutching her child to her breast, held in time as they were burnt to a crisp. Did you just do that? The game doesn’t really make that clear (as far as I could tell, they were inadvertent side effects of the mortars).
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This reached a disturbing peak, when after dropping white phosphorus on rogue American soldiers, you discover a tent full of civilians that had been burned alive. The decision system, accompanied by troubling imagery and constant moral compass bickering by your squad-mates, instead serves to deliver the horror of war to your conscious mind – hoping to make you feel as your character feels. You’ll still be headed in the same general linear path. The game does not depend on the decisions to guide the gameplay either that part won’t be affected. Unlike many games that have decision-based systems, most of them being RPGs such as Fable, there is no good or bad. As far as gameplay, Spec Ops: The Line is an over-the-shoulder third person shooter, but as far as in-war morality it tests a new dimension of decision making. There is no moral compass here kill everything. Then there is the pure chaos in form delivered by over-the-shoulder shooters like Gears of War. Though that intensity comes less from the impression of urgency or morality and more from the blood and sheer volume of enemies. The intensity in the way-too-short campaigns of the latest Call of Duty franchise entries has been powerful. That’s not to say that games haven’t been trying. With Spec Ops: The Line, however, this trauma is front and center. Often these games put us in first person view, and too often we don’t feel the emotional and mental trauma that war and especially killing that true warriors would feel.
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They are enemies that were fought on the battlefields of great wars, or they are aliens that have no resemblance to humans save for a general humanoid form. They are faceless or stereotypical, the Nazi or evil Cold War–era Russian. Currently in development at YAGER for the Xbox 360®, PlayStation®3 and PC, Spec Ops: The Line is a provocative and gripping third person modern military shooter that challenges players’ morality by putting them in the middle of unspeakable situations where unimaginable choices affecting human life must be made.Often in military style video games we kill without much regard for the enemy. SpecOps®: The Line™ is a new original title from 2K Games.