You and he have three options open to you, and ten seconds to make it:ī) Walker shoots himself before Konrad can. After finishing his monologue, Konrad points his gun at Walker, and gives him ten seconds. ![]() That’s the end of the story dramatically speaking. Long story short, this is a tragedy, and it ends with Walker meeting his former commander John Konrad, who lays out his recognition for him. So, our hero is Captain Martin Walker, leader of Delta Force squad who are sent into disaster-struck Dubai to investigate why the local military group have dropped out of contact. But the thing is, if this were a movie or a comic book or prose fiction, you would lose the power of the ending, which smoothly and seamlessly asks the player to do something that any other medium would have to work much harder to get away with: judge the protagonist. Like most pure dramas, the story could take place anywhere and not lose much – it’s set in an American-occupied Middle Eastern city and stars an American military team, so take a guess what it would lose – and any medium – there’s criticism-via-dramatic-logical-conclusion of genre tropes of military shooters. ![]() So, Spec Op: The Line is a straightforward, thrilling, terrifying, powerful dramatic engine of a story. I can actually talk about the ENDING of Spec Ops: The Line without talking about most of the themes or plot of the game, so references to anything other than the ENDING of Spec Ops: The Line will be as limited as possible, but this is still about the ENDING of Spec Ops: The Line. This article is about the ENDING of Spec Ops: The Line.
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