Spec Ops: The Line certainly shows you things you're not used to seeing. Dubai is a beautiful city, and seeing what happens to it in this game is completely horrifying. Though the city has been ravaged by sandstorms and war, you still get glimpses of what the city was. The action looks good; enemies animate and die naturally, though the gore effects are extremely weak. But let's just say that being burned alive by white phosphorus is not the way I want to go out. Spec Ops: The Line looks good overall, provided you don't look too closely. Several of the textures are zoomed in on by the game's cinematic camera, which no doubt reminds the player that he or she is playing a game. Captain Walker and his team become more ragged, beaten up, and sandy the further you go, which is a nice touch. And without giving any spoilers, some of the visual effects near the end of the game are jarring in all the right ways.
At first, I jokingly referred to Spec Ops: The Line as "Nathan Drake Drops a Million F Bombs." But then I took a step back and reminded myself that I'd be hurling them as frequently (if not more so) than Captain Walker if I was in his boots. A lot is riding on the delivery of the voice talent; the script is deadly serious and contains very little humor. Nolan North is instantly identifiable in most of his leading roles these days, and so he is here as Captain Walker. Christopher Reid and Omar Abtahi voice your companions. There are a few interesting picks, too; Bruce Boxleitner (Tron) voices John Konrad and Jake Busey plays The Radioman. There's a lot of licensed music in this game, and I'm extremely proud of 2K and Yager: not once did I hear Creedence Clearwater Revival's "Fortunate Son" in any of my time with the game.