![]() ![]() Dubai is already a city of extremes, a metropolis vast in both scale and wealth surrounded by an incredibly inhospitable landscape. ![]() ![]() The storm acts both as a useful narrative device for Spec Ops, the plot of which borrows heavily from Joseph Conrad’s novel Heart of Darkness, and also as a way to enhance the game’s setting. Not only have the storms completely cut off Dubai from the rest of the world, they’ve also buried its glittering skyscrapers and curated oases in mountains of sand. 33rd Infantry Battalion, which volunteered to provide relief to the citizens of Dubai following a sequence of massive dust storms, but themselves became trapped in the city by those same storms. Walker’s mission in Spec Ops: The Line is to determine the fate of the U.S. It is the storm itself, and what it represents. It is the entire reason the game’s story takes place, the elephant in Dubai. Yet there’s another side to Spec Ops: The Line that has not only withstood the test of time, but has grown more urgent in the last decade. READ MORE: “It’s the year of worker power” – why unionisation in gaming is here to stayĪ decade on, Spec Ops‘ critique of war and how video games represent it has lost little of its power, despite exhaustive discussion and analysis of the topic.Most infamously, he uses White Phosphorous mortars – a chemical weapon prohibited by the Geneva Convention – to target a unit of rogue American soldiers, accidentally killing dozens of civilians in the process. Throughout his journey, Walker’s unyielding commitment to the mission leads him to commit ever more atrocious acts. Whereas most military shooters at the time either handwaved or outright glorified issues like military interventionism and American exceptionalism, The Line was unafraid to portray its protagonist, Sergeant Martin Walker, as complicit in the horrors that unfold in sandstorm-wracked Dubai. When Spec Ops: The Line launched in 2012, it was lauded for its unvarnished and unheroic portrayal of war. ![]()
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