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Red Orchestra 2 has full tank crews, where the driver, gunners, and commander all have different roles to play, and all have their vision obscured in realistic fashion. While many shooters have vehicles like tanks to drive around in and shoot from, they’re usually easy: just point and shoot. This extends even to the equipment used in the game. This all adds up to a slightly more rigid and less forgiving experience than most similar squad combat games, a feeling that’s entirely appropriate to the setting. In the former, roles are assigned randomly you get the chance to choose in the latter, although roles are capped. Interestingly, Red Orchestra 2 uses different mechanisms for divvying up squad roles in its single- and multi-player modes. The bulk of any team is its cannon-fodder riflemen, who tend to get chewed up on the battlefield without machine gun support, smoke grenades, and varied assault patterns. Teams comprised of half-snipers, half-machine gunners are impossible.
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There are various classes to choose from, as with most similar real-world warfare games, but each of them has set limits. Red Orchestra 2 offers a rigid tweak on conventional squad combat. Or you can try to pin down the enemy and sneak around their flanks to negate their defensive advantage. You’ll desperately dodge machine gun bullets and artillery while trying to get into an apparently safe house. Using a dedicated cover button as well as various leans, sprints, crouches and lying prone, the game makes dashing around a broken city work. But in Stalingrad, it makes perfect sense that every block has piles of sandbags, and that every house possesses convenient piles of rubble. In some games, this leads to the somewhat absurd situation of lines of crates appearing in whatever room or plaza your characters are fighting in. Second, that adoption of a dedicated “cover” button to press for hiding behind whatever is available. First, the recharging health meter, triggered by Halo, makes hiding and waiting not simply a viable strategy, but, in many cases, the only workable strategy. This is done holistically throughout the game, with both the presentation and the gameplay combining to achieve this rather impressive goal.įirst-person shooters (as well as third-person shooters) have been trending towards cover-based systems for the past decade or so. Red Orchestra 2 is a historically justified first-person shooter set in the Battle of Stalingrad, because it manages to represent the battle effectively while working as a videogame. Wargames built around historical accuracy have, of course, included Stalingrad, but there’s far fewer of those than there are wargames based on Gettysburg, Waterloo, D-Day, or The Bulge. They usually deal with other fronts, including the almost canonically heroic American and British landing on D-Day. But they’re not focused entirely on that part of the war. Sure, a few Medal Of Honor and Call Of Duty games have included Stalingrad levels. The primitive nature of the battle, as well as the fact that it took place between two vicious, totalitarian nations, means that it’s not often held up as the model of heroism in American culture and gaming.
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On the other hand, Red Orchestra 2: Heroes Of Stalingrad has a subtitle soaked in meaning. Warcraft III: Reign Of Chaos? Some chaotic stuff goes down, and you work to stop it. Call Of Duty: Modern Warfare? It’s a game about warfare in modern times, as opposed to the World War II settings of other games in the series. Most video games have subtitles that are context-free descriptions or poetic metaphors. And there are the cries of the wounded, of the agonizingly dying, shrieking as they stare at a part of their body reduced to pulp, the cries of men touched by the shock of battle before everybody else, who run in any and every direction, howling like banshees.” – Unknown German Soldier “There is nothing but the rhythm of explosions, more or less distant, more or less violent, and the cries of madmen, to be classified later, according to the outcome of the battle, as the cries of heroes or of murderers. Tripwire Interactive’s realistic shooter focuses on the often overlooked Eastern Front of World War II.