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Spec Ops: The Line is a 2012 third-person shooter video game developed by the German studio Yager Development and published by 2K Games. It is the tenth title, as well as a reboot, of the Spec Ops series. In the game, players can hide behind cover, vault over obstacles, and shoot enemies while utilizing a variety of gadgets. Included with the game is an online multiplayer mode, developed separately by Darkside Game Studios, allowing players to engage in both cooperative and competitive gameplay. The player controls Captain Martin Walker, who is sent into a post-catastrophe Dubai with an elite Delta Force team on a recon mission. As the story progresses, Walker's sanity begins to deteriorate as he begins to experience hallucinations and slowly realize the horror of war.
Announced in December 2009, the game was released internationally in June 2012 for Windows, PlayStation 3 and Xbox 360. Spec Ops: The Line received generally positive reviews from critics with praise given for the narrative and its themes, while criticism was targeted at the online multiplayer and generic third person gameplay. It was also awarded and nominated for several end-of-the-year accolades, particularly for its story, and has garnered a cult following in the years after its release. Despite this, the game was a commercial failure, which led to the announcement that there would not be a sequel to the game, effectively ending the Spec Ops series.
Set before the events of the campaign, the competitive multiplayer divides players into two different teams: The Exiles and The Damned. Both teams have their respective perks. Six classes are available for players to choose: Gunner, Medic, Scavenger, Breacher, Sniper and Officer. Each have their own upgrades and advantages. Environmental hazards, including sandstorms, may also occur during a multiplayer match. The game modes featured in the multiplayer include:
The developers drew inspiration from multiple media. The set-up and the game's foundation was inspired by Heart of Darkness, whose story reveals the changes a person undergoes in chaotic times. The relationship between Walker and his squad mates was inspired by HBO's Generation Kill, and the post-war traumatic experience suffered by Walker was inspired by Jacob's Ladder. The story of the Tower of Babel was also an inspiration for the game. The story was originally set to be written by several German writers, but they were later replaced by American writers Richard Pearsey, who had worked on TimeGate Studios' Section 8, and Walt Williams, who had previously worked on other 2K projects including BioShock 2 and Mafia II. One of the game's core features is violence, but the team hoped that it would not be "cheesy" or excessive. This led the team to focus on creating the game's storyline to motivate players to take the actions they choose. Writing the story became uncomfortable and rough for Williams as time progressed, due to the game's dark themes.
The game was designed to be a third-person shooter so that players can see the three characters change and evolve as it progresses, and that the perspective differentiates the game from others shooters in the market. The game was meant to feature narrative gameplay, in which the game was to be played without any cutscenes so that the entire story would be told through gameplay sequences only. However, the idea was downplayed as the development team realized that having cutscenes helps players to be more emotionally connected and allowed the team to create dramatic scripted sequences.
Although the lead player character, Martin Walker, was designed to be as simple as possible in order to help players to engage in the game, and relate to the character, the team gave him some personality which was expressed through his body language and his reactions during the game's battles. It was felt that by reflecting his emotions to players, they would share them. The squad was designed so that room was left for character development. The transformation of the squad's mentality serves as an important plot device during the game and has a significant narrative context. The changes in the cleanliness of their clothing, and their reactions toward each other, help to illustrate the story. According to Williams, the hope was that players would start the game with relatively low expectations, or they would consider the game another typical heroic war shooter, then by seeing the transformation of the characters, would be shocked by the game's narrative and be "engulfed by the darkness". To make the transformation process clear, the team found it necessary to show the characters' personality at the beginning of the game in order to create a strong contrast. Gameplay is also a plot device and is tied to the game's narrative, as players can choose whether or not to execute enemies, which reflects the brutality and horror of war.
Williams believed that most games on the market failed to create a correct representation of the war experience, or express the psychological changes that some combatants experience after participating in a war. He added that a war is not as straightforward and immature as it is often portrayed in various shooters. As a result, a central theme of the game revolves around the moral aspect of war. By using this theme, the team hoped to tell a story and provide an experience that feels realistic, covering the combatants' mental changes during and after a military conflict, similar to how movies in the 1970s and 1980s, such as Platoon, Full Metal Jacket and Apocalypse Now convey these messages. The team had the intention to give players the opportunity to show that a shooter can also have a decent story capable of invoking emotions. To achieve this, the team simplified their original story setting of having Konrad as a "megalomaniac with messianic delusions" to a setting that is more similar to Heart of Darkness.
Spec Ops: The Line includes several choices for players to make. According to Williams, it was a key concept to be featured right from the start of the game's development. The game does not feature a morality system, but instead has situations that give players some freedom of choice. The consequences of some of these choices were deliberately made unclear in an attempt to make them more realistic, encouraging players to explore the other potential options not directly presented by the game. These choices were inspired by Fallout 3, and are often between: "what the character knows and what the player would maybe try and do". To make choices more realistic, and to increase the impact of the story, the team put in a lot of morally ambiguous choices and "bad or worse" decisions. Williams added that absolute good choices are not practical and sometimes may not exist in real-world situations, so to reflect that combat sequences sometimes force players to make split-second decisions and accept whatever the consequences are. According to Williams, this is something that people frequently do in real-world scenarios, and they must "live with it" after their decision. Williams added that they hoped that the game's players would have different feelings after making these choices, as this would show that they had created an opportunity for players to examine their own inner emotions, and that they had successfully provided different experiences for players without having a branching storyline. Replay value was also considered when the development team was designing these choices.
One of the main goals of the narrative was to depict war in a manner unlike it is portrayed in media such as TV and books. Another goal was to use the scenarios presented to cause players to raise questions about their thoughts of killing people in a video game as a form of entertainment. To achieve this, the team made the hints at the game's loading screen increasingly aggressive, while the game's overall narrative was designed with the aim of being "physically opposing", so that players could project themselves into the protagonist's position, especially when making choices that involve the killing of innocents. They hoped that players would be able to feel angry at the developers who "forced" players into killing civilians in the game. The team had a lot of debates regarding the imagery used in depicting violence towards civilians, as many considered it excessive and unnecessary. However, 2K approved their vision even when the team thought they had pushed the narrative to extremes.
Williams has stated that the game's events are open to interpretation.[c] Many different theories have been discussed by the development staff. Davis described the game's pacing as "deliberate", but he added that there are moments where the pacing slows down significantly and allows the player to learn more about the game's story through inspecting environmental objects. The city of Dubai is filled with graffiti, which is used to give players information regarding the factions and the backstory. According to Yager, the graffiti was designed to give players a perspective that is different from the main game, and to help make the location more realistic. The team also hoped to make players feel lost when playing the game. As a result, the team added hallucinations to the game. The team hoped that by using hallucinations as a plot device, they could create a snowball effect and engage players more fully in the story as they complete the game. These hallucinations sometimes occur through the subtext, in which players may not realize their presence. Williams added that having subtext is important, and that the "best stories are the ones that have stuff hidden in them".[d] The game fades to black when the game transitions from one scene to another, and it fades to white when Walker is hallucinating or otherwise deceiving himself. 2b1af7f3a8