We're expecting to see a big "A/B" UI come up on the screen and like, "Harvest this guy, receive 1,000 gold!" You're expecting these gamey moments. So narratively you're like yeah, I want to kill this guy, but at the same time, surely it'd be more painful to let him just burn to death. These guys really fucked you over in some different way. And you can do that, and obviously there's-I won't announce this quite yet-there's a narrative thing that comes into this. He's like begging you to put him out of his misery. You've been in this massive crash, and you come out and you find this magnum on the floor. So we create these moments where maybe you only have two choices, but it's really like we're playing with the mechanics of the game, you know? You're given a gun and shoot them.Īnother example that we have later on in the game is there's a guy trapped under a burning truck. So you're told to make a choice.Īnd that was a really binary experience. So you're made to-the snipers are targeting the guys that are hung as well. Or you can take-on the sides of the freeway are a bunch of snipers basically. You can shoot one guy, you can shoot the other guy, you can shoot both guys. Who lives? Who dies? There's like four different outcomes from this moment. It's sort of like this situation is not nice, it's not good, but you have to choose one guy. The way Konrad frames it is he's like, "Look, I'm forced to make these sorts of choices every day." This is like, you're in. Now this soldier turned up and murdered this guy's entire family. The guy on the left is a soldier from the 33rd, and he was actually sent to reprimand this guy. It's a big, really heinous crime because water is really, really scarce. The guy on the right, he stole water, which basically under the martial law in Dubai at this moment in time is a crime. So they're strung up, they're alive, and Konrad, over the voiceover radio says, "Hey, Walker, you have to choose who lives and who dies in this moment." They're hung, basically, from their hands. One of the examples that you encounter at one moment is you're walking down this sort of destroyed freeway and there's these two guys hanging from an overpass or signage. The easiest way is probably for me to give you a couple of examples. They're kind of choosing between something that's bad or something that's probably worse. So allowing you to sort of make a choice-or pushing you to make a choice actually is better-none of the key moments that we have in the game are actually nice moments. That's exactly what we talked about in this new interview with the game's senior producer, Denby Grace.Ĭomplex: Tell me about the choices players will be making in Spec Ops: The Line.ĭenby Grace: Ultimately the big push is on you as the player in sort of creating an emotional moment that maybe tweaks you in some way. Riffing off of Joseph Konrad's novel Heart of Darkness (or if you prefer, the Vietnam film inspired by it, Apocalypse Now), Spec Ops: The Line is going to ask a lot of players, and it's not going to give them much hope in return. It's set in Dubai six months after a massive sandstorm, and three US soldiers (Walker, Lugo, Adams) are sent into the ruins to evacuate a soldier named John Konrad, who it turns out doesn't exactly need extraction. Spec Ops: The Line was one of our favorite games at PAX East back in April, and we even got a chance to get away from all the hustle and bustle and have a lengthy chat about the game's story with its lead writer, Walt Williams.Īfter playing the game for almost an hour and speaking with Williams, it was abundantly clear that The Line is not your typical war game.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |