In some sense, this patchwork methodology of storytelling has also been adopted by Treyarch in the newest Call of Duty, albeit in a less successful way. Thus, the political resolved itself into the distinctly personal by accessing war from the perspective of each of these individuals in the trenches. These characters were charged with executing missions that would serve to resolve the larger concerns of national and international interests that the game’s plot focused on. Despite its overarching plot of global conflict, all of these moments were again captured in a deeply personal manner as a fragmented narrative was generated by placing the player (via that first person viewpoint) in the shoes of a number of soldiers from various military backgrounds and in various places around the globe. Additionally, owing to its interest in modern warfare, it posed some intriguing questions concerning the relationship between video game technologies and the technologies that drive contemporary battle. While that game did not necessarily reinvent the genre, it - like so many of last year’s most interesting games (I’m thinking of Bioshock and the fist person puzzle game, Portal) - experimented with the way that stories can be told from this particular perspective by letting the player experience some unusual events (such as the death of a Marine in a nuclear blast) from directly behind the characters’ eyes. With developer Infinity Ward responsible for that version, an exceptionally high bar was set for the series with the game’s exceptional use of first person shooter conventions to immerse the player not only in the battlefield but also in some questions that the visceral and kinetic genre does not normally slow down long enough to consider. Following up last year’s Call of Duty 4: Modern Warfare is not an easy task.
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