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There Are a number of points in your life when you realise you’re doing something wrong. Getting your arse consistently handed to you playing an online multiplayer FPS is the one that springs to mind, having recently attended the Modern Warfare 2 event in Los Angeles.

Anyway, back on track. Call of Duty might have flown the PC coop and built gigantic, billion-dollar nests on the consoles, but while Sony and Microsoft wage the war of special edition consoles and timed exclusives, let’s just be glad that Infinity Ward are committed to PC development, and let’s never talk of Call of Duty 3 again.

So far, we’ve had a glimpse of MW2s single-player campaign, and the Special Ops co-op mode has been showcased briefly. Today, though, it’s all about the PvP multiplayer side – with three new maps cycling on the 32 machines.

Favela is your dusty shanty town, with tight maze-like roads occasionally opening up into areas filled with burnt-out cars and fizzing pylons. Then there’s the dusty expanses of Afghan, with mountainous brown terrain and bunkers providing hiding places and sniping spots. Finally there’s High Rise, which breaks with the dusty theme and lets you wage war around an office block and on roof-tops.

Pie multiplayer side of Modern Warfare was characterised by two things: progress and prestige. In terms of progress, the kill streak awards were instant reward for persistent murder, and the levelling and unlock system provided a compelling wider picture to keep you going. For prestige – well, you could trade all your progress for a shiny badge that proves you’re awesome. Death streaks give heroic losers the chance to redeem themselves, with health boosts and the ability to steal your killer’s class, to see how he was kitted out The unlocks are constant too.

Level three grants access to all five predefined classes, and level five lets you create five custom classes. A class load-out now consists of your unlocked primary and secondary weapon, two pieces of equipment, three of your unlocked perks, and a death streak.

The prestige elements have I also been built up. Now, you don’t just get to show off with a badge that proves you’ve voluntarily given up your top-level soldier 10 times, like some kind of suicidal maniac. Now you unlock emblems through a separate achievements system. This is connected to Accolades – end-of-game awards given to those with high kill-to-death ratios, or who’ve done good at protecting their flag. In the potentially intimidating world of online shooters, MW2 tries to be friendly, offering bonuses for every notable situation.

Killing someone who’s nearing a kill streak or who’s recently killed you or a teammate; using a variety of weapons – all these things offer an XP boost and awards that can lend even the worst player a sense of dignity. When you get that balance right, thrilling the hardcore and letting the ungifted join in, you’re onto something pretty big. Modern Warfare 2s multiplayer is nothing desperately innovative, but it’s a completely slick and friendly experience that looks set to easily replace its predecessor in the multiplayer throne.

When there’s nothing ground-breakingly new, but a lot of little tweaky improvements, it’s difficult to summarise why a game’s better, especially in a way that won’t alienate people that haven’t played the first Modern Warfare multiplayer. So here’s a wee list of what we know. There are at least three maps – Favela, Afghan, and High Rise – and two new multiplayer modes – Capture the Flag really, it’s new – don’t question it and Demolition, which involves planting a couple of bombs.

You’ll have 15 kill streaks to unlock, nine of which have been revealed, with menus implying that the being able to fire at your opponents from an AC-BO Gunship plane is only the third-best Meanwhile, there’s a new world of customisation both useful death streaks and secondary weapons and cosmetic emblems and accolades.

There Are Hundreds of things more offensive than the airport level in Modem Warfare 2. And by mixing those things with one another in increasingly offensive ways, the total number of things that MW2’s airport level is less offensive than becomes unfathomably huge. For example, it is less offensive than an identical level in which all of the civilians’ clothes fly off as they get shot. And that’s less offensive than a similar level in which only the women’s clothes fly off.

So you see how, on this scale, shooting polygonical civilians in their faces is almost the most inoffensive thing possible. On a less facetious note: is it really that big a deal?

People have enough of a collective moral compass to prevent depravity from becoming lucrative. I don’t think you’ll ever make much money from sliding a digital Berretta into the puckered anus-pixels of a German Shepherd. MW2’s nugget of controversy, I felt, fits nicely within the context of the game’s barmy plot.

It could’ve been done better – but then so could the unremarkable level in the airfield – yet it accomplished something few other games have, of any genre. This level showed, explicitly, why the MW2’s bad guy was a bad guy. No vague threat of nuclear attack, or blurred FMV of him brooding and looking a bit evil, but a proper massacre shown in the first-person.

That is, at the very least, original. The Early 21st Century is a conflicted time to live. Afforded the full blockbuster premiere treatment, Modem Warfare 2s launch party was a surreal affair consisting of staff in military fatigues mixing cocktails and handing out trays of brownies. Following a midnight set from Dizzee Rascal, the game was given out. The free bar was closed an hour before schedule as the place immediately emptied.

Journalists turning down free drinks in favour of a game? That’s seismic. Not as seismic as what will probably be referred to indefinitely as “That Level”.

This is, of course, the now notorious fourth level of the game, a morally reprehensible atrocity exhibition that marks a watershed for gaming from which there may be no return. Now I’m a big horrible ugly man who has seen many disturbing things, yet the first time I encountered the No Russian level is still seared into my brain, even in its befuddled post-party 4am state.

In terms of incongruity it’s a bit like watching a Carry On film only for Sid James to whip out his , tumescent phallus 10 minutes in. Here’s how it pans out.

The game begins in obligatory newbie friendly mode at a boot camp in Afghanistan as you take control of new recruit Joseph Allen. It’s literally a shooting gallery, teaching you the basics of wielding a weapon on the pretence of showing some locals the ropes. You’re then sent to something called The Pit, a test of your skills that yields a recommended difficulty level. On the way there, you are given an opportunity to drink in the detail, and it’s a wondrous thing. A rudimentary game of basketball is taking place, some recruits are repairing a Humvee, and a fat bloke sits on his arse shoving a chocolate bar into his gaping maw.

Having passed the test with flying colours, it’s then onto the conflict proper, with an urban level that may have been lifted directly from the HBO series Generation Kill. A variety of weapons are called for, you get to ride in a vehicle, and make your first kill blood as you reacquaint yourself with the intensity that marked the groundbreaking prequel.

It’s instantly gripping, a textbook assault on the senses that leaves you reeling and hungry for more. Of course there are numerous casualties, but this is war, and it’s a case of kill or be killed. A big hairy beast of a man, Soap makes Bear Grylls look like Graham Norton, and you will learn to love him.

He’s a bulletproof presence who’ll lead you through the conflict, barking orders at you in a terse Scottish burr. He saves your life a number of times, and even if you know what’s coming it’s still tense stuff, culminating in a sequence that could easily precede the titles of a Bond film.

The Ski-Doo chase perhaps isn’t the thrill ride hinted at, and you naturally get to the escape helicopter with seconds to spare, and move on to the next level. At this point you’re warned that what follows is disturbing and asked again if you want to play it, with the guarantee that it won’t affect your progress in the game. In other words, it’s entirely gratuitous. And then you’re asked if you’re sure you want to play it. Of course you want to play it, you’ve paid for the game and you’re an adult.

Clicking yes, it’s explained that you – Joseph Allen – are going undercover with a terrorist group led by the game’s main villain. The screen goes blank and you hear what sounds like something being unzipped. You’re not in a Gents toilet, but in a lift, which comes to a halt to reveal a packed Russian airport. You and your four faux-comrades step out, each wielding automatic weapons. A security guard shows some concern, at which point the terrorists emotionlessly open fire, mowing down hordes of civilians who crumple to the ground in a screaming bloody mess, as an entire check-in gueue is decimated.

No detail is spared: the injured crawl for safety leaving trails of blood, only to be mercilessly put to death. At this point you can’t run, making the methodical slowness of the death walk that makes it so affecting, the inexorable extermination of wave after wave of innocent people.

You’re of course expected to join in with the bloodbath, but morally it’s not easy to get involved. Not wishing to blow my cover, wandered into a bookshop and took out some paperbacks.

I also shot some tills, which spat out money, and lit up some hand luggage, which impressively spilled its contents on to the blood-soaked floor. You can’t shirk from the slaughter entirely, as the police are called, and in order to finish the level you will have to murder them. The whole thing leaves an unpleasant taste, and you have to question Infinity Ward’s motives in including that level, other than to garner publicity and giving pundits a further opportunity to demonise gaming.

If they claim that it was to advance the story and establish the villain of the piece, then the whole incident could have been explained in a cutscene or a voiceover. And anyway, what story? The Rizla-tliin plot seems to consist of four blokes called things like Meat, Ghost and Jet going to an exotic location and finding a bloke who knows the whereabouts of another bloke in another continent.

This is warfare as travelogue, with a trail of dead that spans the globe and back. For instance, with the dirty business of the airport massacre out of the way, you’re off to Brazil, hunting some bloke through the favelas of Rio in the shadow of Christ the Redeemer. This is one of the trickier levels, as it’s hard to get your bearings due to the fact that every twat with a machine gun or grenade launcher is generally stood above you, causing you to spin round in a circle of your own doom.

Furthermore, shooting peasants in a slum under a tourist attraction doesn’t particularly feel like modern warfare. This nagging doubt continues when you’re in North Virginia defending a restaurant called Burger Town that’s piqued the interest of dozens of enemy soldiers, who may or may not know what they’re fighting for.

This is of course still an adrenaline-filled ride – shooting helicopters out of the sky is fun anywhere – but compared to something like COD4’s seminal All Ghillied Up level, the Hollywood accusations would appear to have some resonance.

All the same, the Burger level lets you try out some of the new hardware, namely the Predator drone: a remotely controlled plane that can be used to wipe out infantry. You’re even congratulated if you kill 10 or more in one strike, like some kind of human bowling game. Elsewhere, new gadgetry is introduced when required, but you’re not boinbarded with it.

It’s possible to negotiate most levels using the weapons of your choice, with the big guns coming out for the occasional set piece. On a more defensive note, the riot shields provide some welcome relief, as well as some physical gratification when you smack a nearby foe upside the head with one.

As previously, the screen is often spattered with your own blood -essentially a visual health meter – and constantly seeking cover is a genuinely stressful business, with gunfire’s default setting apparently being extreme. Without visual clues it would largely be impossible to know what to do, and having a dot to follow, or a guide as to how far the next objective is proves invaluable, particularly as the shouted instructions tend to be relayed against a cacophony of explosions.

Thankfully subtitles are available, even if they’re largely in military speak. It’s a bleak portrayal of warfare, where shitting in a hole is as much a part of the conflict as calling in an air strike. What it shares with Modern Warfare 2 is language, and fans will be immediately familiar with jargon like “oscar mike”, “danger close”, “stay frosty”, “interrogative”, and “how copy”.

 
 

 

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