Over the course of its single-player campaign, Spec Ops: The Line is unwavering in its commitment to the idea that not only is the protagonist of a military shooter a psychopath, but that our demand for and enjoyment of them reveals something deeply ugly about our culture.ĭeveloped by German studio Yager Development, who had previously made the sci-fi flight combat game Yager (2003), and published by 2K Games, Spec Ops: The Line tells the story of Captain Martin Walker, the playable character, and his two squadmates, Sergeant John Lugo and Lieutenant Alphonso Adams, a Delta Force team on a recon mission into the heart of sandstorm-devastated Dubai. Then it goes a step further: It seems to actively despise its own existence. It takes for granted that it's a bit f***ed up to enjoy video game violence. In stark contrast to its contemporaries, Spec Ops refused to shirk uncomfortable questions. Just shy of five years on from Call of Duty: Modern Warfare, to make a military shooter during this Imperial Phase was typically presented as an objective search for authenticity draped in the flag of solemn respect for the troops, a dual approach designed to avoid uncomfortable questions around the genre's obeisance to and glorification of the military-industrial complex.
When Spec Ops: The Line was released in 2012, military shooters were still at the height of their power.
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