We all know how Spec Ops: The Line works by now, because I’m like half a decade late to this conversation. Part of the reason I’m writing about it now is because MrBTongue recently released a video about it in which he presumed that a significant chunk of his audience would be unfamiliar with its plot, which seems weird to me even from the perspective of someone who just woke up from having been napping since November of 2016.
Spec Ops is clearly a criticism of genre conventions revolving around the portrayal of US military action in FPS games. It’s often described as additionally being a criticism of the player for continuing to do terrible things just because they can’t progress in the game otherwise. That first one is fair enough. Deconstructing genre conventions is usually interesting on its own (especially for genres whose conventions were established by mindlessly aping the style of one particularly successful work while most or all of its substance is lost in a game of telephone), and often makes the genre stronger by pushing later creators to respond with reconstructions that remove the weak spots exploited by the deconstruction in the first place.
The second one has always bugged the Hell out of me, because it only works when it happens to land in front of someone to whom its criticisms apply. Undertale is a judgmental game to the point where there is a specific hall of judgment where one of the characters judges your actions, but it bases that judgment on the player’s choices. It’s not always fully accurate, but it comes across as characters in the world making mostly fair judgments to the best of the information available to them, and uses a fourth wall breaking narrative so that it can judge a Doylist entity – the player – by their Watsonian actions, by making them part of the Watsonian narrative.
Continue reading “Spec Ops: The Line Can’t Keep Doylist And Watsonian Actions Straight”


