![]() Once I realized that Hartsock or Legget or Smith and Jones were going to rise from the grave again no matter how I used them, I started rushing them right into the heart of enemy fire like sacrificial lambs. It would’ve also made for a much more intense game if the soldiers who died stayed dead, or, at the very least, had to skip a mission or two to recuperate, but, miraculously, they were back just in time for the next mission. In one such instance, instead of being reprimanded for leading seven men to their deaths, the commanding officer told me something along the lines of “That was the best military tactic I’ve ever seen”, and gave me a medal. ![]() I also wish there were some sort of penalty for losing soldiers in battle, as I often found myself completing a mission completely alone, after my entire squad bit the dust. Too often I found my commands for my soldiers to take cover behind a certain wall or brush resulted in them running past it, and getting mowed down by enemy fire. However, this technique also leads to my one of my few gripes about the game. I especially like the fact that, when behind cover, most targets are nearly impossible to hit, making it imperative that you exercise maneuvers to outflank them. The kick of the M-1, the wavering sites of a sniper rifle, the realistic physics of lobbing a grenade, it’s all here, and it’s simply the best I’ve seen in a videogame. The game’s strengths lie in its intensely authentic sounds and weapons physics, which will have even the most diehard FPS fans jumping for joy. Textures look fine, and character models are good, albeit a bit goofy looking, but, overall, it looks no better or worse than any current WW2 game out there. Graphically, Brothers in Arms looks great, but the Unreal engine is definitely starting to show its age. However, Full Spectrum Warrior was a much more passive experience, as you controlled your squads from a distance, while in Brothers in Arms you are, most certainly, “in the shit.” It’s a nifty system, and makes for some tense and fun firefights for sure, but a similar system was employed in last year’s excellent Full Spectrum Warrior, and gave you more control over individual squad members. You can also call up an overhead “situational awareness” map that shows the locations of your men, your objectives, and any enemy troops that have already made there whereabouts known to you. However, Brothers in Arms also puts you in control of Baker’s squads (up to two at a time, alternating between troops and artillery), giving you the ability to set up one squad at one location, while moving the other in to outflank the enemy. As Baker, you freely move, shoot, take cover, and do everything one would normally do in a first person shooter. Matt Baker, a young grunt given command of a small squad of soldiers. Rolling out over the eight days following the invasion of Normandy, Brothers in Arms puts you in the role of Sgt. Ubisoft and Gearbox, however, are out to change all that with its inspired and innovative Brothers in Arms: Road to Hill 30. While this is all good fun, those hungry for a truly authentic simulation of combat have had to settle for what amounts to Doom in khakis. While many recent attempts have been graphically appealing, most lack realism, serving as little more than ways to exercise our inner-Rambo by single-handedly running through dozens of enemies and wiping them out with one ceaseless machine gun blast. The experience of war has been something that videogames have been trying to capture for years, but with somewhat mixed results. There’s no time to do anything but stare down the barrel of that big gun, and hope that God has a place for you in heaven. It all happens so slowly, yet so quickly at the same time. ![]() You squint through it to see the Panzers on the hill. A bullet kicks up dirt that spits into your eye. ![]() The Germans are moving in, and, as the ground beneath you rumbles and vibrates like a nickel massage bed in a cheap motel, that can only mean one thing. When you see the first body, it feels like your heart turns to ice, and the cold flows through your veins. calling in for reinforcements, and belly crawl toward his barking voice. Not here, not now.īullets whistle overhead, pulverizing the dirt wall of the trench behind you. You awaken in a fog, the sight of branches waving lazily in the wind, and the muffled sound of distant thunder.
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