I feed these bugs tasty stuff that makes them grow big and strong and how do they thank me!? They break the machines that make them the stuff.
So what if I burned their forests to the ground, built autoturrets right outside their homes, ran them over with tanks and rained hellfire down on them just to test my fancy new artillery?
Spec Ops the Line is art. You don’t have a “choice” to not use the white phosphorus if you are going to play - but just like Heart of Darkness and Apocalypse Now - no one needs to be there/participating to begin with.
One of my favorite aspects is the way the ludonarrative/gameplay ties with the story.
spoiler
The enemies start showing up in unrealistic numbers, one of your dead squad mates shows up as some kind of mutated monster - it feels like the classic escalation in difficulty because you are playing a video game. But this is happening because your character is delusional and perceives it that way.
I’ve always wanted to teach a high school/community college elective where we read Heart of Darkness, watched Apocalypse Now and played Spec Ops - to see how the same narratives in themes are used in entirely different settings and with different methods of storytelling, but how ultimately they all reach towards the same message about humanity and war and cruelty.
The older Call of Duty’s (maybe the newer ones, haven’t played since Black Ops one) often had messages/quotes that were pretty anti war when you died, but were ultimately sabotaged by the story. Spec Ops is probably the best game at understanding how to use the FPS mechanics as part of its storytelling.
Sooooort of. I read ‘heart of darkness’ when i was way too young, but ‘apocalypse now’ and ‘spec ops: the line’, while similar, are clearly biting at different targets.
Where the central theme of ‘apocalypse now’ might read as ‘there is no civilized war, it is only ever madness, and to believe otherwise is not only madness, but incompetence. You play as children at heroism, and it is a lie. There are no heroes here. Not on your side, at least.’
‘Spec ops: the line’ could be read as ‘what the fuck is erong with you people? Why do you even do this? What the fuck is even in it for you?’ With literally the first scene being the implicit ‘you’ve heard this story before, we both know you have, no part of this is new to you. so why the fuck are you so god damn stubborn about not fucking getting it?’ Scolding less the pissed off 19 year olds who do the atrocities, and more the entire society that keeps allowing them to be so staggeringly violently stupid.
There is a good version of that.
Claims moral superiority for never buying the game and instead buying Factorio
I feed these bugs tasty stuff that makes them grow big and strong and how do they thank me!? They break the machines that make them the stuff.
So what if I burned their forests to the ground, built autoturrets right outside their homes, ran them over with tanks and rained hellfire down on them just to test my fancy new artillery?
They’re the real monsters here
If they’re r strategists, that was just good neitzschean nurturing.
Wow! I was the good guy all along!*
*Except on Nauvis
Spec Ops the Line is art. You don’t have a “choice” to not use the white phosphorus if you are going to play - but just like Heart of Darkness and Apocalypse Now - no one needs to be there/participating to begin with.
As much a commentary on the complicity if the general culture and specific medium it comes from as the military type guy you’re playing.
One of my favorite aspects is the way the ludonarrative/gameplay ties with the story.
spoiler
The enemies start showing up in unrealistic numbers, one of your dead squad mates shows up as some kind of mutated monster - it feels like the classic escalation in difficulty because you are playing a video game. But this is happening because your character is delusional and perceives it that way.
I’ve always wanted to teach a high school/community college elective where we read Heart of Darkness, watched Apocalypse Now and played Spec Ops - to see how the same narratives in themes are used in entirely different settings and with different methods of storytelling, but how ultimately they all reach towards the same message about humanity and war and cruelty.
The older Call of Duty’s (maybe the newer ones, haven’t played since Black Ops one) often had messages/quotes that were pretty anti war when you died, but were ultimately sabotaged by the story. Spec Ops is probably the best game at understanding how to use the FPS mechanics as part of its storytelling.
Sooooort of. I read ‘heart of darkness’ when i was way too young, but ‘apocalypse now’ and ‘spec ops: the line’, while similar, are clearly biting at different targets.
Where the central theme of ‘apocalypse now’ might read as ‘there is no civilized war, it is only ever madness, and to believe otherwise is not only madness, but incompetence. You play as children at heroism, and it is a lie. There are no heroes here. Not on your side, at least.’
‘Spec ops: the line’ could be read as ‘what the fuck is erong with you people? Why do you even do this? What the fuck is even in it for you?’ With literally the first scene being the implicit ‘you’ve heard this story before, we both know you have, no part of this is new to you. so why the fuck are you so god damn stubborn about not fucking getting it?’ Scolding less the pissed off 19 year olds who do the atrocities, and more the entire society that keeps allowing them to be so staggeringly violently stupid.
“You’re still a good person.”
I feel like the questions you have about my loading screen text are all answered by my loading screen text.