Spec Ops: The Line

[Assassinator]

acaaca kaže:

Zbog jedne igre dosli i filozofi da filozofiraju.

A ti nisi cuo za sarkazam.

[nameless1]

dragomix kaže:

Prica ima svoj pocetak i kraj, zaokruzena i bez ijedne mane. Gadja pravo u centar, to sto su developeri zeleli da postignu, to igra i postize. Verovatno nisi ni skapirao u cemu je fora u celoj igri, niti si malo prostudirao celokupan koncept kasnije i malo promislio o igri, a i o samom sebi. To je ono sto vise krajeva donosi, to je ono sto ova igra pruza. Duboko da zaviris u samog sebe pre svega. Da li si hladnokrvan i da li ti neciji zivot vredi? Da li si spreman da verujes svemu sto ti pricaju na TV-u, novinama, internetu? Da li si spreman da zgazis sve da bi stigao do svog cilja, pritom ne uzimajuci u obzir da nisi u pravu? Da li si spreman na kraju krajeva da zrtvujes svoje saborce zarad sopstvenih ideala i ciljeva? Da li krivis druge za svoje neuspehe ili ponekad shvatis da si ti jedini krivac zbog toga u kakvoj se situaciji nalazis, bilo ona dobra ili losa?

Vidis, ni jedna igra koju sam odigrao do sad u zivotu, a veruj mi odigrao sam ih mnogo, me nije ostavila sa ovoliko pitanja o samom sebi, ne samo o igri. Sto vise razmisljas o desavanjima u igri shvatas koliko si detalja promasio koji su ti govorili nesto sto bi sad trebalo da pise u spojleru pa necu da napisem. Shvatas da si sebican i da zelis da postanes heroj i spasilac iako nemas koga da spasis, po svaku cenu zelis da ostavis sliku o sebi netaknutu i u iluziji.

To su neke stvari koje novac ne moze da kupi. Taj osecaj kad predjes igru i shvatis da si svo vreme bas ti zeleo da uradis sve sto i protagonista u igri u datoj situaciji. Da bi bilo besmisleno da postoji neki drugi put jel bi vecina nas krenula bas ovim, zacrtanim koji nam je igra priredila.

Vecina sigurno nije ni shvatila sustinu ove igre, verovatno nikad i nece. Zelece da ostave svoju sliku a samima sebi nepokolebljivu, zato nece ni razmisljati o igri.

Nadam se samo da ce u buducnosti biti vise ovakvih igara, sa jakom pricom koja tera na razmisljanje. Dosta mi je vise pucanja, skakanja, trcanja, udaranja kolima, jurnjave nuklarnih bombi koje su uzeli zli Rusi, Iranci, Srbi... Igre treba da predju taj prag, kada vise ne postaju zabava, vec i neka vrsta edukativnog medijuma koji coveku moze da promeni zivot posle odigravanja.

ovi mora da su igrali Spocps

[M1L0SH]

Toliko lupetanja o prici koja je samo prosek i glavni adut im je zestoko kopiranje apocalypse now filma. Gameplay nije nista uber takodje. Sve u svemu prosek.
I kako je to sokantnija od MP, Max Payne ?

Spoiler za Spoiler:

Igra te baci da pucas u svesto se mrda, juras pomahnitalog pukovnika shvatis da je on mrtav a ti si prso i lepo se ubijes, pritom nemam pojma zasto te ona dvojica prate ako sve vreme juris duhove. I sta je stvarno a u sta u njegovoj glavi ? Ja nisam impresioniran. Jedino mi bio zanimljiv detalj kad nadjes da preziveli prave municiju od srebra, i neka decija lutka od svile i dijamanata. One collectibles stvari. Taj postapokalipticni detalj kako se svet bogatih rusi i materijalne, prestizne stvari gube svoju vrednost. Plus fosfor je brutalan detalj sem toga Max payne je mnogo veca igra.

P.S. Vise krajeva jaka stvar na kraju dobijes levo ili desno izbor.
Zavirivanje u samog sebe bla bla bla. Da li mi zivot vredi ? Pretera ga samo sam kliktao na pixele (kako moj brat to voli da kaze) ...

[dragomix]

Pa ja rekoh, igra ce vem reci i nesto o vama samima, pa vi zakljucite sta vam je rekla!

Pikseli su i filmovi, serije, slike... pa ima onih od kojih ti zastane dah. Ako igre budu samo pikseli, nikad nece otici dalje od COD tipa igara u kojima samo skaces i pucas, pritom se radujes ubijajuci.

P.S. Vidim da vecina nije skapirala pricu, ali uopste.

[acaaca]

M1L0SH kaže:

Toliko lupetanja o prici koja je samo prosek i glavni adut im je zestoko kopiranje apocalypse now filma. Gameplay nije nista uber takodje. Sve u svemu prosek.
I kako je to sokantnija od MP, Max Payne ?

Spoiler za Spoiler:

Igra te baci da pucas u svesto se mrda, juras pomahnitalog pukovnika shvatis da je on mrtav a ti si prso i lepo se ubijes, pritom nemam pojma zasto te ona dvojica prate ako sve vreme juris duhove. I sta je stvarno a u sta u njegovoj glavi ? Ja nisam impresioniran. Jedino mi bio zanimljiv detalj kad nadjes da preziveli prave municiju od srebra, i neka decija lutka od svile i dijamanata. One collectibles stvari. Taj postapokalipticni detalj kako se svet bogatih rusi i materijalne, prestizne stvari gube svoju vrednost. Plus fosfor je brutalan detalj sem toga Max payne je mnogo veca igra.

P.S. Vise krajeva jaka stvar na kraju dobijes levo ili desno izbor.
Zavirivanje u samog sebe bla bla bla. Da li mi zivot vredi ? Pretera ga samo sam kliktao na pixele (kako moj brat to voli da kaze) ...

E zamisli ovo otvorena mnoga pitanja u sebi.Tacno tako u potpunosti se slazem sa tvojom ocenom.

[acaaca]

dragomix kaže:

Pa ja rekoh, igra ce vem reci i nesto o vama samima, pa vi zakljucite sta vam je rekla!

Pikseli su i filmovi, serije, slike... pa ima onih od kojih ti zastane dah. Ako igre budu samo pikseli, nikad nece otici dalje od COD tipa igara u kojima samo skaces i pucas, pritom se radujes ubijajuci.

P.S. Vidim da vecina nije skapirala pricu, ali uopste.

A koja je razlika izmedju COD i ove igre.I ovde se samo puca i sve zivo ubija ne vidim neku bitnu razliku ako zanemarimo sto je prva FPS a druga third person shooter.

[dragomix]

acaaca kaže:

A koja je razlika izmedju COD i ove igre.I ovde se samo puca i sve zivo ubija ne vidim neku bitnu razliku ako zanemarimo sto je prva FPS a druga third person shooter.

Vidis razlika je ogromna. Mozda nekima nije, ali meni jeste bila.

Prvo nisi siguran u koga pucas. Ko je zao, ko dobar, sta tu dodjavola radis. Onda sam se par puta zapitao da li uopste pucam u ljude ili u lutke, kao sto sam vec napisao neki lesevi nestaju momentalno. To je bilo do pola igre. Od pola igre sam poceo da budem nemilosrdan, da pucam u krivce koji su me naterali da uradim uzasnu stvar i tako sve do kraja. Ocekivao sam poslednju borbu u stilu MP3 gde si pred nemogucim izazovom i treba da ubijes glavnog zlocu, a na kraju... bum.

COD i milion drugih idu na ovu foru. Misija, ruski ultranacionalisti/iranci ukrali nuklarke, rokaj. To je sve. Ceo zaplet je ubiti lika koji je napravio zaveru za kradju nuklarki. Pa cak je i GRFS isti takav. Valjda takav zaplet vise odgovara prosecnim igracima koji ne vide razliku izmedju ove dve igre.

EDIT: Zanima me jos jedna stvar, koliko godina imas ako nije tajna?

[acaaca]

dragomix kaže:

Vidis razlika je ogromna. Mozda nekima nije, ali meni jeste bila.

Prvo nisi siguran u koga pucas. Ko je zao, ko dobar, sta tu dodjavola radis. Onda sam se par puta zapitao da li uopste pucam u ljude ili u lutke, kao sto sam vec napisao neki lesevi nestaju momentalno. To je bilo do pola igre. Od pola igre sam poceo da budem nemilosrdan, da pucam u krivce koji su me naterali da uradim uzasnu stvar i tako sve do kraja. Ocekivao sam poslednju borbu u stilu MP3 gde si pred nemogucim izazovom i treba da ubijes glavnog zlocu, a na kraju... bum.

COD i milion drugih idu na ovu foru. Misija, ruski ultranacionalisti/iranci ukrali nuklarke, rokaj. To je sve. Ceo zaplet je ubiti lika koji je napravio zaveru za kradju nuklarki. Pa cak je i GRFS isti takav. Valjda takav zaplet vise odgovara prosecnim igracima koji ne vide razliku izmedju ove dve igre.

EDIT: Zanima me jos jedna stvar, koliko godina imas ako nije tajna?

Sad u avgustu punim 26 znaci stariji sam od tebe godinu dana.Skrenuo sam totalno od teme al ajde da ti odgovorim kad si vec pitao.

[dragomix]

acaaca kaže:

Sad u avgustu punim 26 znaci stariji sam od tebe godinu dana.Skrenuo sam totalno od teme al ajde da ti odgovorim kad si vec pitao.

Malo vise si stariji od mene, meni podaci nisu tacni!

Evo za sve koji su presli i nisu bas skapirali o cemu se radi u igri. Okacio sam na prethodnim stranama, ali izgleda da niko nije procitao.

Spoiler za Procitati pazljivo:

“In chapter one, Konrad's face appears on the billboard,” Williams explains. “In chapter five, Konrad's face appears on a very large billboard that changes when you go around a corner. Nobody noticed that change happening.” These effects are inconsequential when it comes to actually playing Spec Ops, but this subtle presentation reinforces Walker’s obsession with his missing former-commander. The man is consumed with Konrad from moment one. As first-time players we don’t recognize the face, and Walker doesn’t mention it. Regardless of anyone’s reaction, the images are there, looming at the back of Walker’s mind while staring him straight in the face.

“
We hoped we would piss people off.

“There are a lot of pictures of people with their eyes blacked out in the first half of the game,” says Williams. “You'll notice that those eyes are only blacked out in situations where there's something truly horrible in the area. They are literally closing their eyes to the reality in front of them.” Later, Williams explains, “there's a tree covered in leaves that, after you pass, if you look back, the tree is now dead, the leaves have completely vanished.”

Is it a metaphor for Walker’s desperate hope to find life in Dubai, or is this a basic consequence of his insanity? It’s ultimately up to you. This is what makes Spec Ops’ special: It leaves each of its story beats open to interpretation, and they can be as meaningful or empty as you want them to be.

Williams and the rest of the development team want players to have emotional reaction based on what Spec Ops means to them. For those investing emotions into it, this opens up a ton of new questions about the characters and events of Spec Ops: The Line. Walker repeatedly envisions himself slaughtering his squadmates, he kills thousands of men, both CIA and American army, and he fabricates painful moral dilemmas. Are these visions of what Walker fears, or what he wants?


At the point you ask yourself this question, Spec Ops is speaking directly at you. It asks, “You find this fun? You enjoy this slaughter? You like watching awful things happen to good or innocent people?”

And you say, “yes I do.” Suddenly, Yager Development, 2K Games, and Walt Williams force you to ask yourself why, and to consider the kind of person you’ve become because of shooters. By telling you this specific, small-scale story about suffering, Spec Ops simultaneously comments on the triviality of war games and the people who play them.

“We wanted that sense that the game was physically opposing you,” says Williams. “Not simply as a simulation, but also as the game itself.” Williams refers to the loading screens, which eventually stop giving gameplay tips and start reminding you of the mistakes you’ve made and the damage they’ve caused. Death as well as progress rub salt in your wounds.

That’s a small touch, but it’s a means of emphasizing Spec Ops’ aggression toward players. For Williams, the infamous white phosphorous scene embodies exactly what he wanted for Spec Ops. Walker inadvertently murders civilians, soldiers, and families. At that point, Williams says, “we wanted the player to be in the same emotional position as Walker.” From there, Williams projects Walker onto the player. “We wanted the player to be where Walker was and be angry at us, the people who made them do this,” Williams explains.

Angering people was an active goal, particularly with this scene. Williams “didn’t care about crossing a line. We hoped we would piss people off. We wanted people to be angry because we felt like that was a real emotional response to that scene.”



During focus tests, in which 2K brought regular gamers in to play large chunks of Spec Ops and give the developers feedback, players paused the game and left the room to compose themselves. Williams didn’t expect such an intense reaction to the harrowing imagery of a mother and child burned alive.

“That's a moment where a human being, if you were actually a soldier in that situation, you would have to make that very conscious choice of trying to move on and accept what you had done,” he says. “We were hoping that that choice would be mirrored in the players. They would look at this game and go, wow, is this actually a game that I want to finish playing? And if I do, I have to accept what just happened and choose to keep playing this game.”

Creating imagery, story, and scenery engineered to upset emotions definitely comes with repercussions, and Williams met some serious resistance internally. “I'm finding this from a lot of gamers,” he says, “that as they're getting older and having children, they get a bit uncomfortable sometimes with how children are treated in certain games.”

“
Look at all the people you killed just to be a savior.

[dragomix]

Spoiler za Nastavak:

Another 2K staff member was, as a father of “two absolutely adorable kids,” convinced that this kind of visual was unnecessary. It's a reasonable response to a controversial scene. “Ultimately it wasn't done entirely for shock value. It was meant to be organic with the story. He eventually agreed that yes, in that regard it does work,” Williams explains, “because it's not exploitative.” You’re not making a conscious effort to kill a child, and the death isn't for any greater good -- it’s a horrific consequence of a bad decision you can’t avoid making.

In military shooters, players are conditioned to trust the hero more than his superiors. Whatever Goodguy McHero says is your guiding force -- Spec Ops turns the tables by transforming him into a delusional liar and a despicable monster. When Walker shoulders the blame to someone else, the guilt should lift from your shoulders as well.

For a while, anyway -- it all comes back to haunt you in the end anyway.

By the end, Williams wants you to think about what their actions mean for Walker as a person as well as how that makes you feel. "You may think you're a savior and a hero, because at the end of the game you saved someone," Williams says, "but you're not, really, because look at all the people you killed just to get to that one point."


If he did his job right, you should hear Williams voice in the back of your mind asking, "What is it you were wanting to feel when you chose to sit down and play a military shooter? What did you think you were at the beginning of this game? Why did you think it was okay to keep going and to keep doing these things?"

In fact, you should probably wonder this far sooner than the reveal that Konrad is a deranged representation of Walker's imagination. You can perceive Spec Ops' story in any way, but for Walt Williams, Martin Walker was a dead man the moment his chopper crashed. His first experience after recovering, after all, is the most spectacular hallucination of them all: Dubai erupts in a bright red flame and visions of the dead start shambling toward Walker.

"For me, everything after the crash is Walker kind of reliving the hell of what he had just done," says Williams. "You can even interpret Konrad as being not necessarily a delusion inside his mind, but some kind of external projection of his guilt in this purgatory or hell or afterlife, or however you choose to view it."

That said, Williams notes one last, vital visual trick. "Any time the game is doing a normal transition, it'll fade to black. Any time Walker is hallucinating, or lying to himself, in a kind of delusional fashion, the game will fade to white," he says. "The entire epilogue sequence where Walker goes home, it fades to white. Even if you are not reading that Walker died in the chopper crash, it is meant to be understood that Walker is hallucinating going home."

[acaaca]

dragomix kaže:

Malo vise si stariji od mene, meni podaci nisu tacni!

Evo za sve koji su presli i nisu bas skapirali o cemu se radi u igri. Okacio sam na prethodnim stranama, ali izgleda da niko nije procitao.

Spoiler za Procitati pazljivo:

“In chapter one, Konrad's face appears on the billboard,” Williams explains. “In chapter five, Konrad's face appears on a very large billboard that changes when you go around a corner. Nobody noticed that change happening.” These effects are inconsequential when it comes to actually playing Spec Ops, but this subtle presentation reinforces Walker’s obsession with his missing former-commander. The man is consumed with Konrad from moment one. As first-time players we don’t recognize the face, and Walker doesn’t mention it. Regardless of anyone’s reaction, the images are there, looming at the back of Walker’s mind while staring him straight in the face.

“
We hoped we would piss people off.

“There are a lot of pictures of people with their eyes blacked out in the first half of the game,” says Williams. “You'll notice that those eyes are only blacked out in situations where there's something truly horrible in the area. They are literally closing their eyes to the reality in front of them.” Later, Williams explains, “there's a tree covered in leaves that, after you pass, if you look back, the tree is now dead, the leaves have completely vanished.”

Is it a metaphor for Walker’s desperate hope to find life in Dubai, or is this a basic consequence of his insanity? It’s ultimately up to you. This is what makes Spec Ops’ special: It leaves each of its story beats open to interpretation, and they can be as meaningful or empty as you want them to be.

Williams and the rest of the development team want players to have emotional reaction based on what Spec Ops means to them. For those investing emotions into it, this opens up a ton of new questions about the characters and events of Spec Ops: The Line. Walker repeatedly envisions himself slaughtering his squadmates, he kills thousands of men, both CIA and American army, and he fabricates painful moral dilemmas. Are these visions of what Walker fears, or what he wants?


At the point you ask yourself this question, Spec Ops is speaking directly at you. It asks, “You find this fun? You enjoy this slaughter? You like watching awful things happen to good or innocent people?”

And you say, “yes I do.” Suddenly, Yager Development, 2K Games, and Walt Williams force you to ask yourself why, and to consider the kind of person you’ve become because of shooters. By telling you this specific, small-scale story about suffering, Spec Ops simultaneously comments on the triviality of war games and the people who play them.

“We wanted that sense that the game was physically opposing you,” says Williams. “Not simply as a simulation, but also as the game itself.” Williams refers to the loading screens, which eventually stop giving gameplay tips and start reminding you of the mistakes you’ve made and the damage they’ve caused. Death as well as progress rub salt in your wounds.

That’s a small touch, but it’s a means of emphasizing Spec Ops’ aggression toward players. For Williams, the infamous white phosphorous scene embodies exactly what he wanted for Spec Ops. Walker inadvertently murders civilians, soldiers, and families. At that point, Williams says, “we wanted the player to be in the same emotional position as Walker.” From there, Williams projects Walker onto the player. “We wanted the player to be where Walker was and be angry at us, the people who made them do this,” Williams explains.

Angering people was an active goal, particularly with this scene. Williams “didn’t care about crossing a line. We hoped we would piss people off. We wanted people to be angry because we felt like that was a real emotional response to that scene.”



During focus tests, in which 2K brought regular gamers in to play large chunks of Spec Ops and give the developers feedback, players paused the game and left the room to compose themselves. Williams didn’t expect such an intense reaction to the harrowing imagery of a mother and child burned alive.

“That's a moment where a human being, if you were actually a soldier in that situation, you would have to make that very conscious choice of trying to move on and accept what you had done,” he says. “We were hoping that that choice would be mirrored in the players. They would look at this game and go, wow, is this actually a game that I want to finish playing? And if I do, I have to accept what just happened and choose to keep playing this game.”

Creating imagery, story, and scenery engineered to upset emotions definitely comes with repercussions, and Williams met some serious resistance internally. “I'm finding this from a lot of gamers,” he says, “that as they're getting older and having children, they get a bit uncomfortable sometimes with how children are treated in certain games.”

“
Look at all the people you killed just to be a savior.

Ma ja sam razumeo pricu nego mi smeta manjak likova sto je to moglo da se uradi bar malo opsirnije.Ti si bas neki emotivac kad si imao takve zivotne dileme .Nemoj misliti da te zezam.

[nameless1]

@Dragomix

Jesi l' citao ti Remarka? Hemingveja? Srce tame? Kvaku 22? Haldemenov Veciti rat? Klanicu 5? Findlijeve Ratove? O filmovima de ne pocinjem..

Ako jesi, kako onda moze jedna video igra toliko da te zaludi nije mi jasno?! Kapiram ja da je ovde prica dublja nego u tipicnim shoot em up cover pucacinama, to je bilo vidljivo jos u najavi, ali brate ti ga pretera (zaeba i Qzmu, koji se bas onako rasno prolupava u poslednjim kolumnama). Kvalitet prica u video igrama je smesan u odnosu na druge medije, a pogotovu medj ovim novim naslovima..

[Boondock Saint]

Mislim da vecina igraca cesto ima pogresna shvatanja "price" u igrama(koja je sama po sebi mnogo siri pojam nego sto se cini), tako sto gledaju, prvo kvantitet a ne kvalitet dijaloga("bitno je da se nesto prica") a drugo "ako ima tona spica znaci da ima dobru pricu" razmisljanje. Mislim eto Elder Scrolls igara, tone dijaloga a prica u najmanju ruku smesna, takodje Max Payne nikad nije imao kompleksnu pricu ali nacin na koji je ta prica ispricana maestralan kao i razvoj glavnog lika. Dakle ima vise cinilaca koji daju "dobru pricu". Likovi, dijalozi kao i sam "lore" tog univerzuma. Recimo zapadnjacke RPG igre se cesto oslanjaju na tonu background infoa a manje na razvoj likova, gde se azijski RPG vise okrece ovom drugom. Zakljucak: postoji vise narativnih strategija i to je prednost video igara nad drugim medijumima. I MP3 I Spec Ops se onda razlikuju kao nebo i zemlja.

[NIDZA bOj]

Rainman kaže:

Ne zalazi u off topic i ne diraj remek delo kao sto je Rush Hour.

Ako cemo vec da cepidlacimo ti si se bas zaleteo .

[nameless1]

Boondock Saint kaže:

Zakljucak: postoji vise narativnih strategija i to je prednost video igara nad drugim medijumima.

Lol! Jedina prednost video igara je u interaktivnosti, sve ostalo nije za poredjenje. Sve one tvoje narativne 'strategije' koje si naveo, uopste ne moraju biti iskljucive u romanima/filmovima. U knjigama imas toliko narativnih tehnika da je to naucna fantastika za naraciju u video igrama (kao npr. 'tok svesti' kod Dzojsa, Foknera, Prusta..)..

[Rainman]

NIDZA bOj kaže:

Ako cemo vec da cepidlacimo ti si se bas zaleteo .

Ma znam, salim se ja malo, zbog ovog Dragomixa, razumem da mu se svidja igra, ali da ides po forumu kao prophet sa dvd-em "Spec Ops: The Line" i vices: POKAJTE SE, OVA IGRA CE VAM OBJASNITI PUT je kontra-produkitvno.

Meni se svidela igra, al eto pocela je i da me nervira cela ova prica jer momak forisira da "90% nas nije ni shvatilo o cemu se radi" jer se ne slazemo da je ovo toliko fascinatno koliko on predstavlja.

[sonofm]

Takodje, narativna strategija dragomix-a je toliko emotivna da pocinje da blago iritira

Igra je dobra i svi smajliji s desna mogu da se stave uz njenu ocenu.

Bilo je preispitivanja (samog sebe) i ranije u igrama i bice ih (nadam se) jos.

Ova je mozda specificna zato sto je zbun (ne žbun, nego zbun) pojacan i realnijim/ratnim masovnim haosom kroz koji se prolazi (i koji se kreira i sopstvenim radnjama), a nije klasican sf (Mass Effect, Deus Ex...) ili nije nasilan samo ili uglavnom zbog marketinga (No russian misija COD, pa i GTA i klonovi).

Po mom misljenju igra vredna paznje, koja vas nece promeniti da vise ne igrate pucacine ili ne pucate po civilima (ako ste pucali), ali neko ce se zapitati - "da li bih bacio bombu u prostoriju ispred sebe i mojih ljudi da budem siguran u prolazak bez nasih zrtava i kako bih se osecao da tamo zateknem les devojcice dok sigurno prolazimo?" - slicna dilema se recimo pojavljuje u "lepa sela lepo gore" kad salju "miniranu" uciteljicu.

Dragomix-e i oni koji su slicno k srcu i glavi prihvatili ovu igru, pominjali su ljudi neke knjige na koje bi trebalo da obratite paznju (a film Apocalypse Now je radjen po Srcu tame koju je Nameless1 pomenuo, tako da je i to zaista dobar izbor za nekoga ko bi da se bavi ludilom rata i izborima u takvim uslovima).

[acaaca]

Al je igra dobila markenting.Meni nije jasno kako neko ne moze da se pomiri sa razlicitim misljenjem.

[WhenDarknessFalls]

Postoji i druga tacka gledista - nije sama prica toliko dobra i originalna koliko je vecina ljudi jednostavno uzela da igra igru bez ikakvih ocekivanja, ocekujuci jos jedan COD/BF klon. I onda faktor iznenadjenja preuvelicava sve.
Ja sam odigrao igru pre par dana nakon silnih hvalospeva na ovoj temi ocekujuci neki zesci mindfuck, i dao bih igri 6/10 komotno, jer sam stvarno ocekivao nesto nevidjeno i naravno da igra nije dorasla mojim ocekivanjima.

[Boondock Saint]

@nameless1 Priznajem, malo sam se zaleteo kad sam dokazivao superiornost video igara kao platforme za pricanje price, i izgubio iz vida neke od tehnika koriscenih u knjigama. Mada, cenim, slozices se, da je shvatanje price, bilo u igrama,romanima,stripovima pa cak i muzici, subjektivna stvar. Za dragomix-a, i jos nas drugih Spec Ops je dublje iskustvo, dok je za nekog samo CoD klon. I to je ok, svako shvata na svoj nacin. Ja recimo Roki filmove shvatam na nekom dubljem nivou dok su drugima samo Americka propaganda i film o retardiranom bokseru. Nije dragomix neki prorok ovde dosao da pokrstava, covek voli igru i hoce to da podeli sa drugima, bolje to nego da se pojavljuje i pljuje svaku igru koja izadje kao mnogi.