Fair Warning – There will be spoilers detailing the story of Spec Ops: The Line in the post, after the jump.
There’s very unsettling moment about half way through 2010’s Kane and Lynch 2: Dog Days. Having surrendered to the chief antagonist of the game, Kane, Lynch and Lynch’s girlfriend, Xui are subjected to an awful amount of off-screen torture. You regain control of Lynch – who, having been assumed dead – wakes up in a dumpster, naked and bleeding from dozens of deep lacerations all over his body. It’s grimy stuff. Proceeding back into bathroom where the torture took place, you stumble upon Xui’s body, the full extent of her torture obscured via pixelisation, a great use of the games found-footage visual style, all red and brown and black and blue leaving just enough to the imagination to suggest a deplorable level of sadism, but one that is still hidden, protecting the player..
No such veil is left covering any hideous part of Spec Ops: The Line.