Modern Warfare is structured in a way that reminds me of the coastline paradox.
#SHADOW PRESIDENT WINDOWS 7 KEYGEN#
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This is the scene for a furious, protracted night battle where the player must criss-cross the churned earth under the crimson glow of flares to destroy an anti-air gun and call in much-needed helicopter support. It's a mission that involves clearing out a machine gun placement in a tower-block battering your position on the highway, destroying tanks with a Javelin missile launcher from beneath a different, elevated highway (a subtle and clever inversion), before arriving at the titular slough. A good example of this is the level enticingly named "The Bog", which involves the player moving through a tracer-lit city at night to aid a tank (Codename: Warpig) that has become mired in mud. This is not to dismiss Infinity Ward's efforts at choreography, but to observe that its missions and set-pieces take place within a sequence of tiny sandboxes. This is particularly the case in the early Marine missions, where the twisting streets and multi-storey buildings enable you to flank opponents and use height to gain an advantage. Although it doesn't have the mazy majesty of Doom, Modern Warfare always gives you enough room in the level design to approach a combat scenario in various ways. For all its spectacular set-pieces, Modern Warfare never forgot that what makes a shooter interesting is angles and AI. Yet while these might be the moments that make Modern Warfare memorable, they aren't what made it enjoyable to play.Ĭredit for that belongs to the level design. The first time you use night-vision to take out partisans stumbling about in the dark, the mission that sees you in control of an AC-130 surveillance plane, the A-bomb explosion, the player-character demise which the sequels regurgitated ad-nauseam, the two missions set in Pripyat, generally accepted as the game's high-point. It's tempting to remember Modern Warfare by ticking off its 'best bits'. As the game progresses, it gradually combines the two, zooming in upon those spec-ops agents but upping the ante of their engagements. The intense battles of the world war 2 era games are relocated to the sand-blasted alleyways of a middle-eastern dictatorship, with tense spec-ops raids that reign in the action to brief bursts of gunplay, relying on atmosphere and deftly-weaved scripts to keep the player invested. There ain't no party like an SAS Club party.įrom its opening cargo-ship raid to the closing hostage-rescue on a passenger jet, Modern Warfare is a masterfully crafted action game. But it's also down to how Modern Warfare deals with the subject matter. Firstly because in design, pacing and execution it soars above anything that followed in its wake. Yet despite its legacy I've always felt that Infinity Ward's first attempt at translating Call of Duty into a contemporary setting stood apart from the mess that later games made of it. This entire genre shift, and all the issues that came with it, can be traced back to Modern Warfare. It's perhaps why the frankly average shooter Spec-Ops: The Line generated so much discussion simply by addressing the ethically dubious qualities found within these games. A celebration of controversial glories, entertainment riffing off conflicts and disasters from which the sand had barely settled. There's a sense that the modern/near-future warfare craze was more than a little distasteful. The small library of gradually worsening sequels and annual follow-ups, the abysmal Medal of Honor games and all the other middling to poor efforts at competition that defined the next half-decade of first-person shooters ( Terrorist Takedown anyone?).
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It's difficult to look Modern Warfare in the eye without glancing at the long shadow that trails behind it.