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Though it is at times very well written, there are an inordinate amount of times in which the game feels overwritten. It’s clear that Spec Ops: The Line is ambitious in its storytelling, but whether or not it is actually good is a question well worth posing.
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Though the inclusions of these various pieces could be regarded as trivial by some, they do, in cooperation with the more intense moments of the story, help to create something that feels familiar to fans of other mediums but fresh to those that tend to reside within the world of video games. To further drive the point home, Yager, the developer behind Spec Ops: The Line, has included at various points in the campaign music from the 1960’s meant to evoke a feeling similar to those felt while taking in the harrowing reality of Conrad’s masterful narrative.
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The game’s plot might seem familiar to those with an inclination for the written word as it is made in homage to Joseph Conrad’s famous book, The Heart of Darkness, and, most of all, the movie it inspired, Apocalypse Now. This is the first of many decisions that the captain makes leading to the erosion of his humanity. No matter the escalating body count and deteriorating conditions, Walker presses forward in the name of rescuing Colonel John Konrad and any other survivors hanging onto life in the urban ruins that the once-great city has become. It doesn’t take long for the desert to takes its toll on them as almost instantly they come to blows with soldiers once believed to be on their side. The goal of these scenes is as clear as the title’s sandstorms are cloudy: to paint a more accurate picture of modern warfare that accounts for the sadistic nature of those on both sides of the fence in short, Spec Ops: The Line tells a story without good guys.Ĭaptain Martin Walker and his partners on Delta Recon Team enter Dubai as noble men on a mission. What begins as a mere rescue mission quickly devolves into one man’s battle with sanity, and this is a transition that doesn’t occur without a fair share of victims every minute that you invest in the game’s campaign is a moment that it insists on filling with as many dead bodies and moral dilemmas as an episode of Breaking Bad. One’s enjoyment of Spec Ops is contingent on their willingness to embrace its dark narrative. It is at this precise crossroads that Spec Ops: The Line draws a line. Instead, video games of this ilk are all too happy to turn mortals into heroes and human beings into villains. Spec Ops: The Line is a line in the sand.īattlefield and Call of Duty have culminated to create a genre built entirely upon breathtaking action and blind patriotism that ignores the more serious concerns of warfare never once is a player asked to take their finger off of the trigger and think about the implications of a bullet beyond its ability to pierce flesh in a moment’s notice.