The Cabin in the Woods or: In which Andrew totally becomes a hermet

I’m not what I’d consider a principled man. I’m still young, and I try to take life in a detached, learning sort of way. Occasionally, though, a situation pops up that almost directly violates one of my precious few guidelines, and like the protagonist in a Michael Mann film, I must rely on my code to get my through. Or at least, announce it loudly in a blog-y sort of way.

This morning, Edge Magazine reported on a new rumor about Microsoft’s follow-up to the Xbox. Among the details given was a peculiar bit: the new Xbox will require an internet connection to function, similar to Diablo III or the newest Sim City game. This always-online gambit is designed to deter used games, with new games shipping with a code for activating games using Xbox Live.

I’m not even going to bury the lede: if this is true, it’s really dumb. It’s dumb because it precludes a not-as-insignificant-as-you-might-think portion of its target audience without reliable internet. It’s dumb because it’s adding another layer of complexity and unfriendliness to video games just as they’re starting to break even further into the mainstream. It’s dumb because takes Microsoft’s already-inflated sense of hubris with its online services and amps it up to Kanye West-levels of egotism. Actually, that last part’s not “dumb” so much as “kinda gross,” but I was having fun with parallel structure.

Which leads me back to that personal code I mentioned earlier. When it comes to new technology, I have a strict Cabin in the Woods policy (no relation to the film). In order for me to fully embrace a new gadget or device, I need to be able to use it in an environment completely isolated from an online connection—for example, a cabin in the woods. If I can’t enjoy your product in an environment completely removed from 3G and broadband internet, I am not interested.

I am fortunate in that my family has access to just such a cabin. My grandmother owns a cabin on one of Montana’s many fabulous lakes, and it is one of my very favorite places in the world. The cabin (“Hungry Hollow,” reads a sign perched above the door) is on the lake’s shoreline, a good fifteen minute drive into the woods and twenty five minutes from reliable cell phone service. Satellite TV and internet are available, but my grandmother is old and hasn’t two shits to rub together about internet access, and most visits are spent isolated from society. It’s wonderful.

I’m a bit of a cozy gent anyway, and I love the idea of using my favorite gadgets and devices in an isolated setting like a Cabin in the Woods. I need to be able to use your product when I’m in that setting, and assuming I have reliable internet connection all of the time is a fool’s game. Even excluding the halls of Hungry Hollow, I have friends who are too cheap to purchase internet—all of the streaming content and cloud storage in the world doesn’t amount to a hill of beans at their house unless we pirate someone’s Wi-Fi signal.

Putting aside the romanticism for a different set of romanticism, I also feel like I have more confidence in products that don’t need constant online supervision. Take games, for instance. I always buy games based on the strength of their single-player campaigns, because the single-player experience is always constant. Super Mario Bros. is just as playable today as it was 28 years ago. Multiplayer, on the other hand, is much more variable. Community participation varies, bustling one day and a ghost town the next, and companies eventually close their multiplayer servers down. Games like Modern Warfare hang their hat on top-notch multiplayer experiences, but it’s the single-player game that ultimately determines my purchase.

Other symptoms of my Cabin in the Woods policy include:

  • Netflix DVDs over Instant Queue
  • Buying albums on CD instead of iTunes
  • Making every worthwhile Spotify playlist “Available Offline”

Which is why I’m so frustrated at Microsoft’s decision to make its new console online-only. I get that a constant connection works well as a platform for certain game models, especially ones that keep persistent track of progress or statistics. But the only model? That’s much too limiting. Even discounting my admittedly-hoary attitude on persistent internet connectivity, are there enough people with broadband access to avoid affecting sales at the more rural Walmarts and Targets of the United States?

As the US improves its high-speed infrastructure—which is an entirely different conversation—my Cabin in the Woods policy will grow more and more outdated. That is my cross to bear. For now, I maintain my right to vent my frustration at any product or service that violates it. Vive le forêt!

The food critic who doesn’t eat

We’ve reached the time of year when most publications start deciding on their Top Games lists, and I’ve had help in putting together our list for Press 2 Reset. During the deciding process, I made an unsettling discovery: I haven’t actually played many games this year. Not really, anyway. I’ve been fortunate enough to catch some of this year’s top console games, but when I laid out a list of games I played vs. games I wanted to play, the latter was much longer than the former.

This is problematic, of course, for a dude who wants to write about games. After all, if I want to express my opinions and gushy love-tendencies about games, I need to actually play them, you know? It’s not like I’m unfamiliar with this, either. Every single time I have an extended bout of writer’s block, I go to Hastings and rent something, and I get at least one idea from whatever I’ve picked up. This is a thing that I know will help me, so what’s holding me up?

I think my biggest self-deluding excuse is that I don’t have time. I’m busy enough these days where I could take my own word for it. Still, if I’ve managed to integrate writing into my work week, another thing I “had trouble fitting into my schedule,” I can sure as hell justify firing up the Xbox in the name of giving me something to write about.

Because that’s what this is all about: writing. I would still play games if I weren’t trying to hack it as a writer, but my aforementioned hacking makes playing games even more important than if I wasn’t. Seriously. I need to have my finger on the pulse of contemporary gaming, checking out hot titles and following trends. I should know why everyone is talking about Hotline Miami firsthand, rather than from GameTrailers’ video review, and have at least one observation up my sleeve that no one else has made. If I’m going to write about video games, I need to focus on the “video games” part just as much as the actual “writing” part.

This will involve muscling my way past a mental gag-reflex, one that associates playing games with “wasting” time. Funny how your thoughts will try to get in front of a crucial part of your development process in the name of protecting you. I’ll spend the next twelve months finding creative ways to trick my subconscious into not only “letting” me play games, but realizing how crucial they are.

Which is why I’m making my New Year’s Resolution right now: every week, for the next 52 weeks, I will rent a new game and play it. This will ensure I stay part of the conversation, keep my observational skills sharp, and let me monitor what is going on in gaming vis-à-vis the actual released product. It will also ensure I give a staggering amount of money to my local Hastings. You’re welcome, guys.

I’ve made great progress on my journey to becoming a games writer this year, and I intend to make even longer strides in 2013. I’ll swing for the fences with more pitches, more original content and reporting, and more networking with gaming industry folks. In between my radical advancements, though, I’ll keep pace with the important low-key goals as well: writing every day, even if it’s only a quick-shot piece (like this one!), following industry conversation, and especially playing more video games—if I want to write about my experiences in gaming, I’ll need to actually experience them first.

Game On: back-to-school games that won’t break the bank (Bozeman Daily Chronicle – 9/21/12)

Mobile games are starting to take up more and more of my time lately, and this month’s Game On is an extension of my growing interest in software for my iPhone. Also, I needed a theme, and cheap games for broke students seemed appropriate at the time.

Title: “Game On: back-to-school games that won’t break the bank”
Outlet: Bozeman Daily Chronicle
Publish Date: 9/21/12

Classes are back in session around the Gallatin Valley, and Game On is here with several back-to-school games for the semester ahead.

Unfortunately, being a student generally means being perpetually broke. Even with a part-time job, trying to find the income for more than one or two games for the entire year can be a struggle.

Not to worry, because Game On is looking out for even the thriftiest of ramen-eating, dryer-sheet-sharing gamers. Mobile games are the way to go if you want to stretch your dollar, and 2012 saw the release of several top-notch games for iOS and Android.

Read the rest at the Bozeman Daily Chronicle.

And the man in the back said, “Everyone attack!”

It’s not like me to comment on anything after twenty or thirty minutes of exposure, especially something as expansive as Rock Band Blitz, but after playing about seven or so songs, I wanted to jot down my initial impressions. Besides, I’m still dealing with the changes made to the usual Rock Band gameplay, and I want to hash out my thoughts so far.

Rock Band Blitz plays similarly to its plastic instrument-wielding older brothers while winking at past Harmonix rhythm games Frequency and Amplitude. Notes still come at you on a highway in time with parts of the song, but instead of hitting them using a guitar or drum set, you press buttons on a regular controller. Two buttons, in fact, and while I initially thought the lack of input would simplify Rock Band Blitz to its detriment, two buttons keeps gameplay from getting too complicated, which is a blessing when juggling multiple note highways and instruments. Rather than concentrate on one instrument and learn its part by heart, Rock Band Blitz wants you to play all of the instruments equally, telling players at the outset to not worry about playing all of the notes correctly, and instead focus on playing as many notes as possible.

This requires a great deal of unlearning on my part, as someone who has been essentially married to the Rock Band experience for the better part of three years, and I’ve had trouble adopting strategies for switching between different instruments at the most opportune time. I want to stay there and nail all of the notes! It’s what I was taught to do, and I must find new ways to play if I want to reach that coveted five-star rating. I need to nail those score multipliers, earn streaks so I can get into Blitz mode, and manage my power-ups correctly so they can aid my progress.

Ah, yes, that’s the other new bit I forgot to mention. Because a two-note rhythm game has the potential to peter-out before getting through even half of Rock Band Blitz’s extensive DLC catalog, Rock Band Blitz also gives players power-ups for helping clear out notes, ranging from a x2 multiplier that kicks in when players activate StarpoweOverdrive to a set of bottle rockets that blow up notes willy-nilly all over the board. Players have three slots to fill with power-ups, making selecting which to use a matter of careful strategy, like choosing moves in Pokémon.

Rock Band Blitz also has a Facebook component called Rock Band World, an app that supports “score wars” between friends, weekly score challenges, and browsing Rock Band’s DLC songs without going to Wikipedia. You can also view a ridiculously detailed rundown of every song you’ve ever played on Rock Band Blitz or Rock Band 3 broken down by instrument, and can view things like your score, star rating, and exact numerical standing out of everyone who ever played that song. If you’re like me, Rock Band World will trigger a deep-seated need to pick out your best song (say, “Crushcrushcrush”) and practice it again. And again. And probably after that, too.

I like Rock Band Blitz so far, but it’s such a change of pace from the Guitar Hero model of rhythm game that I need more time to learn its quirks and new features, until that “Aha!” moment comes along and I finally understand what makes it tick*. Until then, Rock Band Blitz will act as a fun diversion between actual bouts of actual Rock Band, or at least feed my music game fix when my downstairs neighbors start getting uppity from trying to gold star REO Speedwagon’s “Ridin’ the Storm Out” on drums.

<pour> a little liquor </pour>

G4 as we know it is no more.

At least, so says a report from Slash Film posted earlier this evening, which states that NBC is rebranding the channel as more of a classy, Esquire-esque destination for men. The content changes were not specified, through a spokesperson did say the channel would focus on the “modern male…whose interests span beyond the dorm room or messy bachelor pad.” Whatever that means.

What remains unclear is how this rebranding will affect G4’s gaming coverage and, more importantly for freelance writers, G4TV.com, where a bulk of the network’s gaming content lives. G4, of course, is one of the few networks on television devoting any airtime to videogames, with programs like X-Play and Attack of the Show holding it down for nerdy cable subscribers. Slash Film mentions that the network is “hoping” to stay true to G4’s geekery, but the switch to more sophisticated- (or, at least, expensive)-sounding programming doesn’t necessarily bode well for players looking to catch their gaming fix in televised form.

Of course, it’s not like G4 has been a haven for gaming content lately. Apart from the two aforementioned shows and event coverage at venues like E3 and Comic-Con, G4 produces precious little in the way of videogame-related programming. In fact, it was mostly episodes of Cops and Cheaters last time I checked—like, five straight hours of Cops and Cheaters—with the occasional movie and Ninja Warrior episode thrown in for good measure. Actually, is Ninja Warrior still on anymore? My point still stands.

Personally, Adam Sessler’s departure dampened much of my enthusiasm for the network. Mr. Sessler was always a voice apart in the mainstream gaming press, very learned, cultured, and prone to make obscure references to literature and film during casual conversation. His critical voice always inspired me, even during the early days of Extended Play on Tech TV, and his absence left a big ol’ hole that all the replacement hosts in the world couldn’t fill.

Incidentally, I think is a classy and wonderful woman, and the main reason X-Play today feels to lopsided is because of how much stronger and more comfortable she sounds in comparison to literally everyone else.

I don’t watch G4 anymore—not being a cable subscriber and all—but I will miss it if NBC decides to phase the nerdy stuff out. There’s a huge market for well-produced gamer programming; heck, look at Machinima and GameTrailers if you need proof. Hopefully the G4 staff will be able to stay on when this new direction takes effect, and land on their feet if they can’t. Guess Geoff Keighley and everyone at Spike will have to hold down television for gamers for now.

Man, first Nintendo Power and now G4? I don’t want to live on this &c.

Some pre-PAX thoughts while waiting for my plane

For the second time in four months, I’m sitting at Gallatin Field Airport waiting for a plane to take me to a gaming convention. The same gaming convention, actually, though a different chapter than last time. The last few days have been chock with victory thrills, mini-freak outs, and a whole lot of mingled insecurity and anticipation as I’ve been prepping myself for today. It’s finally happening, though, and I’m damn excited for it.

It’s not just that I’m getting an opportunity to see more huge games before they come out—two appointments in particular have me giddy with excitement. It’s that I’m getting an opportunity to mingle with other folks who write about gaming, both paid (what I’d like to do) and unpaid (what I’m doing right now). I can interact with game developers and publishers, and get a sense of them as people and not just mythical dudes who help sculpt what I do in my free time. If I’m lucky, I can meet up with several of my games-writing icons and heroes, and with them about their work and about how I want to join them. It’s a people thing, this event.

I’ve spent an awful lot of money to get here, and who knows if I’ll even get a chance to write it off or get any sort of recompense whatsoever. Still, if this helps me get to a point where I can be paid more for my services as a writer, it will be worth a few months of bills stacked higher than usual. The way I see it, it’s just as important to attend events like PAX Prime as it is to keep writing and reading; networking is a huge part of this game, and I’m willing to eat some expenses here and there if it means getting ahead.

I’m learning so much about myself as a writer lately, and I’m excited for the knowledge train to keep rolling through this Labor Day weekend. And roll it must—there’s such a temptation to slow down or get discouraged at this stage, especially since I’m so worn out from working all the time. Events like PAX Prime force me to commit myself to my craft (as opposed to Minecraft), and I’ll be much better for being put through this regime.

My journey towards becoming a fulltime games writer continues today and all weekend in Seattle, and I’m way too stoked to progress. This has been a slow ride, and it’s not even close to being over yet, but this weekend’s trip to PAX Prime is another important step on my way. I had a great experience last April in Boston, and now I’m ready to kick ass in Seattle for the next few days.

On waxing nostalgia for JRPGs

Last week, I pre-ordered The Last Story, the newest game from Final Fantasy-creator Hironobu Sakaguchi and his development studio, Mistwalker. I did it partly because I wanted to support Mistwalker and its staff – which includes composer Nobuo Uematsu, a man who must continue to make music until one of us dies – but mostly because I want another classic JRPG. This, despite my seldom-touched copy of Radiant Historia (which is fantastic, by the way) and unplayed download of Penny Arcade Adventures: On the Rain-Slick Precipice of Darkness 3. At this point, pining for old-school JRPGs is just as much an experience as actually playing them.

In fact, I think I spend more time pining for old-school JRPGs than I did actually playing them in the first place. Seriously, when I was a kid I played Chrono Trigger, Super Mario RPG, and Pokemon Blue, and spent the rest of my time lamenting how the JRPG has fallen off and that they don’t make ‘em like they used to. How would I know?! I hardly touched any of them.

Not only that, there HAVE been JRPGs like they “used to make.” Atlus has been pumping them out almost non-stop for at least a decade, and JRPGs ruled the portable gaming roost since the Game Boy Advance (a phenomenon described by Game Informer’s Joe Juba in his excellent editorial, “The Incredible Shrinking RPG“). Hell, Mistwalker already came out with an old-school JRPG a few years ago for Xbox 360; it was called Lost Odyssey and I even bought it. Granted, it’s been sitting on my shelf for the past two years because I’m intimidated by how good it might be, but it’s still there!

My point, Billy, is that the JRPG is fine. Not exactly thriving, mind; we’re a long way from the days of the PlayStation, when sprawling, multi-disc JRPGs came out at least once every two weeks. But with stone-cold stunners like Radiant Historia, Tales of Vesperia, and Xenoblade Chronicles all coming out during the past three or so years – not to mention bunches of worthwhile PSP games I haven’t touched, and other pretty-good JRPGs like Final Fantasy XIII-2 and Blue Dragon - role-playing J-style can hardly be accused of being in any real danger.

Yet I still pine. I think it’s a combination of both rose-colored nostalgia and several excellent games released during quick succession during the Super Nintendo days. With games like Final Fantasy VI and Secret of Mana still living on in today’s gaming conversation, it’s easy to assume that sort of experience happened all the time on the SNES, as though new, convention-challenging JRPGs sprung up on retailer shelves like dandelions.

This notion was strengthened after Final Fantasy VII sold five quadrillion copies and developers started flooding the PlayStation market with JRPG after JRPG, trying to capture in a bottle the lightning Square used to electrify so many gamers. It was a bit like today’s glut of military FPS games chasing after Call of Duty‘s success, only with bigger hair, fewer sniper rifles, and far, far more ellipses.

It’s that prominence that JRPG fans like myself pine for. Yes, we get quality games like Legend of Heroes: Trails in the Sky and Golden Sun: Dark Dawn, but we want MORE! and we want them released front and center! No more being ghettoized to handhelds and curio-publishers like Xseed! Remember how they used to be everywhere? We want that!

Hate to be the one to say it, but that ain’t happening.

It ain’t happening because those sorts of games don’t move enough units in today’s gaming environment, and because the line between what is and isn’t an RPG is blurring like Damon Albarn*. It ain’t happening because the Japanese gaming scene isn’t as strong in America as it once was, and there’s no precedent for hugely successful JRPGs for developers to look to this generation. Mostly, I think, it ain’t happening because developers already *made* those games, and now they’re making something else. Granted, that something seems awfully like military-themed shooters, but bear with me.

Once we – we being those that stay awake at night hoping another Legend of Dragoon will drop out of the sky – realize that JRPGs have had their time in the sun, finding them becomes so much more joyful, like discovering a secret club. We can play them into the ground, because we are older, and though we do not have the time to play them as thoroughly as we once could, we can take our time and savor them without worrying that we’ll miss them in lieu of another JRPG coming out too soon. We can appreciate them for the unique, fun gaming snowflake they are. We can love them in spite of their scarcity – hell, for that, we can love them even more.

Quality JRPGs haven’t bitten the bullet yet, and The Last Story is just another stop along the way. With such a storied history in gaming, the JRPG will never truly die, not as long as there are still gamers who play them. Despite slowing in recent years (also, a few sub-par projects *coughTheLastRemnanthackcough*), JRPGs have been around and will continue to be around. As long as there are turn-based battles and princesses in disguise, JRPGs will be there for gamers.

Guess who’s back. Back again.

I’m back. Back from outer space. You just walked in to find me here with this sad look upon my face. Why didn’t you change this stupid lock? Why didn’t you make me leave my key, if you had known for just one second I’d be back to bug &c.?

Now that we’re done quoting Donna Summer, yes, I have returned from my vacation to Idaho. I had a grand time spending time with my friends, where we visited strange restaurants, drank gin straight from the bottle, and watched at least fifteen different movies in a five-day span; highlights included an encore viewing of both 21 Jump Street (which I rather enjoyed) and Josie and the Pussycats (which I did not). I am rather satisfied.

What I am not, however, is caught up on my writing. Fear not, dear readers, for I have a few topics I’d like to explore before long, but it will still be at least a few days before they surface again. In the meantime, I’ll be trying out Konami’s Castlevania: Lords of Shadow and attempting to finish Spec Ops: The Line. Also, sleep, but you don’t get any achievement points for doing that.

Anyway, just an FYI that more content is on the way. Now, if you’ll excuse me, I need to go sit in front of the TV in a soporific stupor and watch Fantasia for at least the third time this week.

Forgiven, but not forgotten: Ryan Perez, Felicia Day, and making mistakes on the internet

What happens when you make a mistake? Growing up, I heard the constant mantra of “Make mistakes, learn from them, and move on,” a fine turn of phrase that encourages trying new things and growing from the experience. I’ve always been frustrated with this middle school counselor-level of advice, though, because the world doesn’t like mistakes. Or rather, you can never be sure of the ones it finds “acceptable” and the ones it will hold against you; the uncertainty of telling which mistake from which keeps me up at night and gives me a great deal of timidity that I need to work past if I want to be a writer.

This reluctance to forget a mistake is amplified on the internet, where mistakes are not only seen, but broadcasted, regurgitated, and archived for future generations to find and scrutinize. If you mess up online, you mess up for good.

Last night, Destructoid writer Ryan Perez had a few choice words about Felicia Day, actress and internet personality best known as the writer and creator of videogame web series “The Guild.” And by “a few words,” I mean “unprovoked condescension based entirely on her gender.” Dear old sexism rears its head yet again; you’d think that after six months of Seriously You Guys Sexism Is Pretty Rampant In The Games Industry articles, Perez would think more carefully about what he says, particularly when it’s blasted across a publicly-accessible social network.

Anyway, Perez drew the ire of the internet for his misogynistic tirade, and Destructoid promptly dismissed him from its services. As it should be; Perez should have realized that his opinions, while not necessarily representing his employer, do reflect the types of personalities that Destructoid hires, and acting like a sexist bully is not endearing behavior for any site.

My biggest concern, though, is what happens to Perez now that is name is Mudd and the internet collectively hates him for vocalizing some admittedly-harsh and stupid opinions.

The general opinion about Perez is “eff that guy” and move on, and while I agree with Destructoid’s decision to end relations with him, I still feel like the internet, caught in the moment of administering justice, has condemned him to… well, “death” is a strong word, and much more sensational than I want. “Exile” might be better; he’ll forever have a scarlet letter across his chest when he seeks employment anywhere online now, specifically his vile, sexist tweets. It’s easy to say “Yeah, well that’s what he deserves” and move on, but like it or not, Perez is a human being too, with hopes, dreams, and living expenses like everyone else, and I’m not sure if anyone deserves the internet-caliber levels of loathing and vilifying because of one night’s lapsed judgment.

He should take responsibility for his words, yes, but what happens when he’s learned his lesson and wants to get back into the industry? Will he be forever shunned because he was The Guy Who Was A Jerk To Felicia Day? Have his ugly opinions sentenced him to a life of folding jeans at JC Penny’s? I saw one person say “Good, one less foul stench at events.” He’s a human being, man! Are you telling me that we’re barring this guy from ever writing about games again, even if he comes around and recognizes the error in his ways?

This is what terrifies me about the internet: knowing that someday, when I do make a mistake, it will be tattooed across my forehead, and I’ll live in the shadow of it forever. Granted, I hope I will know better than to baselessly and publicly attack a well-known internet personality from a place of privilege, but it’s a difference of degrees. Somewhere down the line, despite my best efforts otherwise, I am going to make a mistake, and I will have to own it for the rest of my life. The prospect of the internet discarding all of my earlier work in favor of my mistake and then promptly throwing me under a bus unnerves me something awful. Are we that remorseless here? Will my misguided words prevent me from eating, even if I am truly sorry and want to repent?

I don’t think it’s unfair to say that generally we writers chose our profession from a place of insecurity. Maybe there was a bully or two in each of our lives, and maybe we wanted to even the score but couldn’t. This is why, when we see wrong-doing on the internet, we rush to defeat the bully, to vanquish the boss from our childhood and restore peace to the land. Sometimes we do that by becoming bullies ourselves; Paul Christoforo was certainly an asshole, but man did we take extreme measures to bring him down. What does it matter if we’re spewing hateful language or turning into the villains we want to defeat, because Justice is on our side; after all, HE’S the bully, so HE should pay the consequences. Perez is feeling the latest round of internet crusading; not only has he lost his job and perverted his relationship with every publication on the web that would do business with him, he also must now deal with libel and hate speech directed at him from now until the internet moves on to the next round of Controversy.

I wish there were a class in school about learning from mistakes, a piece of instruction conspicuously absent from that stupid pithy aphorism. It’s one thing to say “Learn from your mistakes,” but it’s quite another to live with them after you’ve made them. I just want to know that everything will be alright when I made them, and that each mistake I make doesn’t bring me closer to death.

Ryan Perez said some stupid things on Twitter last night, and I think he needs to reexamine his views of women. That doesn’t mean that I want him to still be paying for his blunder when he’s 35, either. He has lost his job and needs to deal with his demons; that’s quite enough to be getting on with, so let’s lay off of the personal attacks. Show a bit of empathy because who knows, you might be in his place tomorrow.

Brothers in arms? – Fighting against U.S. soldiers in Spec Ops: The Line

A few months ago, at PAX East, I got an opportunity to play a new military third-person shooter by Yager Development called Spec Ops: The Line. I enjoyed how deadly the gameplay was compared to most third-person shooters (which, aside from Max Payne 3, all feel like their firearms shoot bits of popcorn and hydrangea petals instead of sub-sonic motes of hot lead), but I didn’t think it was anything terribly special. Imagine my surprise, then, when I saw several gaming journos I respect extolling the praises for Spec Ops: The Line on Twitter. Most acquiesced that it had its share of problems, but they all went on to discuss its story, how the moral choice system actually affected their experience with the game, and recommending it in spite of (maybe even because of) it being a military shooter.

Well, hell, I thought. Here’s a new game from an unproven developer taking on a long-dormant franchise that petered out around 2001. I’ll see your interesting story and raise you $60.

I played it for about an hour and a half last night, retreading all of the sections that I demoed at PAX and delving much deeper into Spec Ops: The Line‘s man narrative. Just like at PAX, I still like how I need to actually use cover to survive and how Spec Ops punishes sloppy play, and I dig how I can issue orders to my teammates like targeting a specific enemy or throwing a flash grenade; minor league stuff compared to the Ghost Recons and ARMAs of the world, but it injects enough variety into a cover-based, spectacle-driven shooter that helps it stand out. But most of all, I’m becoming more and more excited for the story as I progress further and further. Suffice it to say, Spec Ops: The Line is a long way from the gung-ho, Oorah patriotism and heroism found in games like the Modern Warfare series, and the dark edges permeating nearly every story beat give me the feeling that events could go South for everyone in a hurry.

The largest spot of darkness I’ve encountered so far, one that gave me the most pause while playing, happens about an hour or so into Spec Ops: The Line‘s single-player campaign. Your team of crack commandos is ordered to enter the now-storm-ravaged city of Dubai in hopes of finding any survivors, either civilian or from the 33rd Army Division who were sent in to facilitate everyone’s exit. Players begin the game by rescuing several hostages from bands of insurgents (from where? Who cares?), looking and playing similar to tons of military shooters already in existence.

Then, in chapter four, everything changes.

After fighting through a luxurious hotel, Captain Walker and his squad realize an American is controlling the enclave of insurgent fighters. Walker discover a band of surviving American soldiers, remnants of the 33rd, but instead of welcoming Walker and co., they draw their guns and greet everyone with a hail of bullets.

If I can credit Yager with one thing, it’s subverting my expectations of engaging in combat. By opening Spec Ops: The Line with the chapters of shooting at anonymous insurgents, Spec Ops dulls you to the humanity of the enemy you’re fighting, making them feel like by-the-book extremists from any other military game from the past five years. Then, when you’re instead asked to shoot United States Army soldiers, Spec Ops eggs you into shooting at fellow American soldiers with the same glib heartlessness it did when the objective is killing faceless, nameless “insurgents.” Walker makes a comment about needing to defend themselves, but it’s strained at best.

Moreover, the sensation of firing on American soldiers, targets that don’t have the Other-ing fig leaf that Middle-Eastern terrorists do in other shooters, never feels less than icky. Your opponents shout between each other in English, calling for help, giving orders, or reporting on fellow downed soldiers. It’s unnerving, and I think it’s Yager’s way to get gamers to reexamine their take on in-game violence; to see how Spec Ops treats American soldiers, soldiers that have families, children, and dreams for when they get back home, like faceless grunts, and invite players to extend the same empathy to future assailants that look differently or speak a different language.

It reminds me of the Connecticut missions from Call of Duty: Modern Warfare 2. Back in 2009, I had never seen America repel a foreign invasion in a videogame; the sight of Russian troops taking cover in small-town shopping centers reminded me of how I would find cover in bombed-out shops in games like Medal of Honor: Allied Assault, and I found new identification with previous gaming environments by recognizing that people used to live there. Digital people, perhaps, but people nonetheless.

With Spec Ops: The Line, Yager is having a troll at the consequence-free violence perpetuated by the rest of the gaming industry, easing us into the idea that we’ll be shooting at “foreign enemies” for the remainder of the game and instead flipping expectations by making the enemies our own countrymen. In Dubai, people will die by your hand, and I hope that more gamers will give pause when gunning down waves of faceless grunts, recognizing that ultimately they’re just like them.

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