I talk about mannequins for a short while, which are a bit of a recurring theme in Spec Ops: The Line. Buy "Killing is Harmless" by Brendan Keogh: stolen-projects...
If you look how the mannequins are standing, they are standing up straight with their hands behind their back, a stance which is called "The military man stance".
This might not be intentional but I also noticed in that rooftop scene that even the character models of the soldiers weren't super detailed and could easily have been confused for mannequins. Meanwhile, as the game goes on, Walker gets more and more detail to his character model.
@@astorcastoroftherose also in cutscenes where he subtly acknowledges that he may be in a loop it fades into or out of white, which means its not real the gate scene (the one right before you kill civies) Lugo: Theres always a choice! Walker: no. There really isint when you kill the radio man Walker doesent really give a shit despite adams and lugo arguing over whether it was right or not the survival ending Falcon 1 unit: y'know captain, we drove through this whole city to find you, we saw things, you dont mind me asking, what was it like? How'd you survive this? Walker: Who said I did?
The rooftop and hallucination scenes definitely suggest they had a purpose beyond filling space. I never found them to add difficulty because they're distinct enough from the soldiers, so there was likely some other reason for their purpose.
You also see them framed in a window during the cutscene after the Gould section where Lugo and Adams briefly fight. Mannequins on the rooftop could have an 'in-universe' significance; make it look like the tower is constantly manned and strong.
Great analysis! I didn't notice all those mannequins, but there was one you missed. In the cut-scene where Adams and Lugo get into a fight after the CIA agent dies, as soon as they get up and walk off, you can see a mannequin in the display case, watching the entire ordeal. And just a little critique here! Maybe for a little better formatting you could use the "statement, argument, counterargument." Thanks for the vid! Always love me some spec ops!
i think it's partly something i noticed on my second playthrough. at the first encounter with the manikins i shot one thinking it was an actual enemy as that's all you've ran into up to that point. it makes you think 'wait no i gotta shoot the bad guys' instead of 'why am i shooting at US army soldiers'
I think the maner kings representate Walkers' desire to be a model and becuz he so ugly he gets angry and shooot them... if that is right this is so deep becuz walkers might be gay
I have played spec ops the line even though I had PTSD to begin with in life but spec ops showed me and it's only a game where you descend deeper and deeper into madness and says that everything you do that think it is right only shows that your destructive intentions only hurt people around you making you the bad guy and that it is all your fault and Even if you want to believe that you're doing something good when really your basically destroying what made others safe depicting you the main character (or player) as a monster and if you're life means that much to continue that streak of death and destruction or to put it all in one word "do you feel like a hero yet?"
where it becomes heart of darkness where the main character becomes Konrad metaphorically at the end? no thanks. it works as one single game. i dont think it should have a sequel, not because it doesent deserve it but because it wouldent be right
@@usagentgaming3079 thats kinda funny that every story like this has a spiritual successor instead of a sequel. Heart of darkness: apocalypse now Apocalypse now: spec ops the line Spec ops the line: ???
I recall first time i played this game and the radioman told me that guy had a wife and kids, all i could think in that moment was "too bad he's my enemy then"
I could think of other things to fill up space instead of mannequins, so yeah, they were deliberate. I also thought the Kabul Death Squad reference at 1:47 was a reference to his past but he is directly referencing it, not his deluded reality.
Okay why are you showing so much dead air of the mannequins? It just seems odd since it wasn't to get it over the 10 minute mark, just get to the point, cut out the dead space, my God.
If you look how the mannequins are standing, they are standing up straight with their hands behind their back, a stance which is called "The military man stance".
This might not be intentional but I also noticed in that rooftop scene that even the character models of the soldiers weren't super detailed and could easily have been confused for mannequins. Meanwhile, as the game goes on, Walker gets more and more detail to his character model.
I think the mannequins maybe represent paranoia and Hes seeing human shapes in things that are inanimate.
I feel foolish for saying this, but I saw it in reverse. I assumed he was only shooting mannequins at times and his PTSD distorted reality.
Interesting point
@@astorcastoroftherose also in cutscenes where he subtly acknowledges that he may be in a loop it fades into or out of white, which means its not real
the gate scene (the one right before you kill civies)
Lugo: Theres always a choice!
Walker: no. There really isint
when you kill the radio man Walker doesent really give a shit despite adams and lugo arguing over whether it was right or not
the survival ending
Falcon 1 unit: y'know captain, we drove through this whole city to find you, we saw things, you dont mind me asking, what was it like? How'd you survive this?
Walker: Who said I did?
Do the words friendly fucking fire mean anything to you?
The rooftop and hallucination scenes definitely suggest they had a purpose beyond filling space. I never found them to add difficulty because they're distinct enough from the soldiers, so there was likely some other reason for their purpose.
One of the most memorable stories on the shooter genre
You also see them framed in a window during the cutscene after the Gould section where Lugo and Adams briefly fight. Mannequins on the rooftop could have an 'in-universe' significance; make it look like the tower is constantly manned and strong.
Great analysis!
I didn't notice all those mannequins, but there was one you missed. In the cut-scene where Adams and Lugo get into a fight after the CIA agent dies, as soon as they get up and walk off, you can see a mannequin in the display case, watching the entire ordeal.
And just a little critique here! Maybe for a little better formatting you could use the "statement, argument, counterargument."
Thanks for the vid! Always love me some spec ops!
Steven Walther I really enjoyed his counter argument leading to the argument . He could just switch it up every once in a while
Steven Walther great find btw
It would be great if i could play the Heavy + Mannequins part, always have to ask my brother to do it. (I have epilepsy)
F
"Do the words friendly-fucking-fire mean anything to you?" he says as he shoots at American soldiers.
Who are shooting at him
I thought it was because scary games have to have creepy mannequins who move at some point. I think it's the law or something.
B-but video games dont make us violent, lag does...
deep down we all just want to savagely kill everyone around us. We just need an excuse to do so.
@@GDRunny also as a coping mechanism to escape the cruelty of life...
yes, you have no idea the amount of turtles and mushrooms I stomped to death because I'm such a savage
That is not the lesson of the game
Noticed the mannequins as well. They really creeped me out!
Time to pay the reaper company man
i think it's partly something i noticed on my second playthrough. at the first encounter with the manikins i shot one thinking it was an actual enemy as that's all you've ran into up to that point. it makes you think 'wait no i gotta shoot the bad guys' instead of 'why am i shooting at US army soldiers'
I think the maner kings representate Walkers' desire to be a model and becuz he so ugly he gets angry and shooot them... if that is right this is so deep becuz walkers might be gay
Lol
Nah, there should be a scene where walker getting out of a closet. It isnt canon.
I have played spec ops the line even though I had PTSD to begin with in life but spec ops showed me and it's only a game where you descend deeper and deeper into madness and says that everything you do that think it is right only shows that your destructive intentions only hurt people around you making you the bad guy and that it is all your fault and Even if you want to believe that you're doing something good when really your basically destroying what made others safe depicting you the main character (or player) as a monster and if you're life means that much to continue that streak of death and destruction or to put it all in one word "do you feel like a hero yet?"
thats not one word, and you didint have PTSD
I really want a game following the "kill everyone" ending
where it becomes heart of darkness where the main character becomes Konrad metaphorically at the end? no thanks. it works as one single game. i dont think it should have a sequel, not because it doesent deserve it but because it wouldent be right
@@GDRunny A Spiritual Successor perhaps. A sequel no.
@@usagentgaming3079 thats kinda funny that every story like this has a spiritual successor instead of a sequel.
Heart of darkness: apocalypse now
Apocalypse now: spec ops the line
Spec ops the line: ???
@@GDRunny A Anime lol.
We got a game, a book, how about A Anime lol.
@@usagentgaming3079 Sweet jesus. That would be cornball city.
I recall first time i played this game and the radioman told me that guy had a wife and kids, all i could think in that moment was "too bad he's my enemy then"
I could think of other things to fill up space instead of mannequins, so yeah, they were deliberate.
I also thought the Kabul Death Squad reference at 1:47 was a reference to his past but he is directly referencing it, not his deluded reality.
Okay why are you showing so much dead air of the mannequins? It just seems odd since it wasn't to get it over the 10 minute mark, just get to the point, cut out the dead space, my God.