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Is it the u-shaped one we need to demolish, killing everyone inside? Today, the sequence is unsettlingly reminiscent of the report from an accidental US bombing – one that killed 42 people in a Doctors Without Borders hospital in Kunduz, Afghanistan.Īs a real-life AC-130 crew attempt to clarify whether or not the target in their sights is, in fact, a Taliban command centre, the transcript devolves into a very familiar and human case of workplace miscommunication, with terrible consequences. "He's scared shitless."Īt the mission's midpoint, there's a lot of back and forth as the crew attempt to find the right village to bomb, exchanging details about the curvature of roads and the identifying features of buildings.
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"I bet that guy’s pissed, that’s a nice truck," says the TV operator. At one stage, Price and his squad commandeer a civilian vehicle on the highway to aid their escape. Watching together through the screens, they come across like a twisted Gogglebox family, commenting on the unfolding mission as if it’s post-watershed entertainment. "Hot damn!" Occasionally, the fire control officer chuckles in approval. "Woah," yells the TV operator after a direct hit. Your only feedback comes from your fellow crew. Instead, the entire mission is accompanied by the malevolent bass note of your plane’s engine – a flat drone unmoved by the chaos on-screen.
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You hear the clack of your cannons firing, but not the boom when they hit, removing you from the consequences. The distance in itself is dehumanising – not only because you're spared the blood dispersed by your explosions below, but the screams too. It’s disconcerting to know that you are down there – and to not be absolutely sure which of the white dots is named Soap MacTavish. Friendlies are tagged with flares that see them sparkle like ocean waves in the sun, but beyond that there’s little to distinguish them from the ultranationalists swarming on their position. Now, suddenly, they’re reduced to white specks on your thermal imaging equipment. These are men you’ve seen close-up by now, and know by their schoolyard names: Soap, Price, and Gaz. In the build-up to Death From Above, you've been John MacTavish, member of an SAS squad shot down over western Russia while exfiltrating an informant. One of the game’s first scenes traps you inside the body of a deposed president as you are flung into the back of a car, snarled at by your captors and driven to your execution, robbed completely of control. By the time Call of Duty 4: Modern Warfare released in 2007, however, Infinity Ward was using perspective for highly specific emotional goals. Originally it was a conceit that simply allowed you to see the breadth of the European Theatre of World War 2, through the eyes of a US paratrooper, an SAS saboteur, and a Russian volunteer raising the victory banner over the Reichstag. But what follows, in this case, makes you afraid to fire those weapons at all.Ĭall of Duty has always played with perspective. It's a gratuitous display typical of shooters of the time, and particularly those out of Infinity Ward, a studio whose admiration for soldiers and their equipment was clear. The camera swoops around a 3D render of the aircraft, slowing to circle the cannons that hang phallically from the ship’s exterior 83.2 inches long, ten inches wide, 4,200 rounds per minute.
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The scene opens with a fetishistic accounting of your firepower, as if a pre-awakening Tony Stark were demonstrating the military might of a new superweapon. Call of Duty 4: Modern Warfare’s eighth mission, Death From Above, casts you as the gunner in an AC-130 Spectre, a US aircraft designed for close air support at night.