As a character study and a deconstruction, I find The Line's story quite appealing, although it probably could've stood to be a little longer and/or built-up. The gameplay is, if not perfect, at least fully functional and not frustrating, which is all I ask. Regarding the You Bastard implications, I have rather conflicting feelings. For the most part, I'm of the opinion that video games are no more inherently "interactive" than literature or films, unless you're explicitly given a choice on how to proceed in or resolve the story (and even then, there are only certain, pre-programmed, choices that can be made) . In the end you're only pushing buttons to follow a path or paths determined well in advance; turning the game off and trying to wish away the events of the story will be no more successful than stopping halfway through a novel and pretending all those pages aren't still there, and strikes me as akin to the action of plugging one's ears to drown out something unpleasant that's already occurred and cannot be undone. That said, even if I were to accept the claim that turning the game off is somehow a valid ending to an already established narrative with four possible conclusions (and I won't consider any solipsistic arguments along the lines of "It only existed and happened because you watched/read/played it!") and that I need to take "responsiblity" for anything "I" did playing the game, I wouldn't feel bad about my actions. If the point is to think about anything (violence, morality of war, "power fantasies", whatever), I thought. And I decided not to change my opinion.
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