Spec Ops: The line's conventional subversion of the military shooter

The contemporary videogame genre of the military shooter, exemplified by blockbuster franchises like Call of Duty and Medal of Honor, is often criticised for its romantic and jingoistic depictions of the modern, high-tech battlefield. This entanglement of military shooters and the rhetoric of technologically advanced warfare in a “militaryentertainment complex” is scrutinised by Yager’s Spec Ops: The Line. The game’s critique of military shooters is as complex and messy as the battlefields the genre typically works to obscure. Initially presented to the player as a generic military shooter, The Line gradually subverts the genre’s mechanics, aesthetics, and conventions to devalue claims of the West’s technological and ethical superiority that the genre typically perpetuates. This paper brings together close, textual analysis; comments made by the game’s developers; and the analytical work of videogame critics to examine how The Line relies on the conventions of its own genre to ask its player to think critically about the cultural function of military shooter