Were it not for some technical issues and console-related shortcomings (gamepad controls and no anti-aliasing), Spec Ops: The Line would be one of the best games for 2012. But, things being as they are, it remains merely a diamond in the rough, destined for wicked crazy status within the following years. Definitely superior to the related series of Kane & Lynch, it proves that, with a steady vision and soul, a genre so clichéd like military shooters, can not only surprise us pleasantly, but totally overwhelm us. [August 2012]

Spec Ops: The Line isn't a perfect game. The multiplayer is essentially a miss, the gunplay is somewhat formulaic, and the controls have a bit of a snag, but it is a great return to the franchise.

It does not forget the madness of war.

It truly deserves applause for the courage to confront us so harshly with our own character, even if our choices sometimes seem forced or useless. But if it could have found another way, less tiresome and monotonous, to let us get to them, it would have had substantial chances to become a classic.

A solid third-person shooter that delivers intense action and a compelling setting, but relies too much on established mechanics, rather than delivering something new. The story however really stands out - a grim and challenging reflection on violence is something you won't find in any typical shooter. Fortunately it's also missing that dull patriotism you've come to expect from today's military action games.

Spec Ops: The Line tries new and interesting ground on storytelling, but falls short on the action department. Still, it's worth playing through for the atmosphere and few different endings alone. [Aug 2012]

The game might not be polished in every detail and has a low budget feel to it, but it's been a while since I played a shooter with such a great story and I doubt we'll be getting another like that soon. [August 2012, p.58]

A big surprise among military shooters. Spec Ops will present you a dark story that's opposing the well-known clichés of the other military games. It's a pity, however, that the action part doesn't go along with the game's storytelling.

It's as though someone took military shooters and asked why their protagonists aren't psychological trainwrecks. [Aug 2012, p.66]

A generic shooter with lots to say. Spec Ops: The Line trades quality gaming for quality narrative and interesting characters. [Oct 2012, p.72]

Spec Ops: The Line stands out in a few ways. Most notably are the sandstorms, the beautiful environments and a story inspired by Apocalypse Now. Sadly, other aspects of the game might not stand out as much.

Expectations were greater than game could have achieved. Yet the new Spec Ops game is a good excuse to stay home and play. [Issue#220]

As it is, the story must be commended for tackling the horrors of war and the effect it has on the human mind, and the techniques it deploys to accomplish this. It tries things no other modern military shooter has even come close to, boldly stating that shooters don't always have to be wrapped in mundane and convoluted storytelling, and that's quite the accomplishment considering the oversaturation of the genre.

On one hand we have to deal with lots of mistakes and bugs, mediocre graphics, a poor order giving system, stupid AI and a short single player campaign. On the other hand Spec Ops has expressive characters, cool locations (Dubai looks great) and a grown-up, memorable story. The most painful thing about Spec Ops: The Line is the fact that "unused potential" is the best way to describe it.

Remove the original premise and beautiful sand-swept skyscrapers of Dubai, and all that remains is a humdrum TPS with Marcus Fenix's DNA at its core.

The disconnect between the gameplay and the narrative elements of Spec Ops: The Line is numbing, which makes it more difficult to contemplate the murky morality of war in the way the game wants you to.