![]() Not only does writer David Goldfarb manage to spin a yarn that hops all over the planet while remaining coherent, he also peppers every dialogue scene with the sort of quotable banter that will thrill any fan of vintage action movies. For one, the story and dialogue are nigh-on perfect. The improvements over the previous game are immediately evident. Clearly, it's about to fall into the wrong hands and Bad Company is swiftly drafted into the world of black ops to track down and retrieve the device before it can be used to aid Russia in invading US soil. While on a routine mission, our quartet of salty, cynical soldiers stumble across something connected to the doomsday device. We then cut to Bravo Company in the present day, and the game hits the ground running. As an opening salvo, it's memorable and effective. It ends ominously, and establishes the saurian foghorn sound of the scalar weapon as something to make your blood run cold. The pace is immediate and intense, packing in short bursts of exposition and in-game cut-scene material with frantic running gun battles. This establishes the over-arching threat of the game - a secret and devastating Japanese weapon - and also acts as a nice bridge between the original Battlefield games and this brasher, hi-tech version. This is evident from the start of the single-player campaign, which opens proceedings with a tense and lengthy prologue mission set in 1944. The reveal of this valley in the story mode is a jaw-dropper. One of the most stunning locations in the game. This is a game that nicks Call of Duty's party dress, and looks better in it. The overall structure of the game echoes that of Infinity Ward's cash-cow while being smarter and deeper in almost every aspect. It's not just the occasional overt jibe at the competition's expense - though one cut-scene pokes fun at elite special forces who use "pussy-ass heartbeat detectors", while another vocal aside insists "snowmobiles are for sissies" as quad bikes roar along a narrow jungle path. So let me pin my flag to the mast right from the start. ![]() ![]() ![]() This was DICE feeling its way back into a console shooter market that had changed beyond all recognition since they last ventured into the land of the joypad with 2005's Battlefield: Modern Combat.īad Company 2, however, is an open challenge to the market leader, Activision's blockbuster behemoth. Boisterous and exciting, like an affectionate pit-bull, it still felt tentative, timid even at times. The first Battlefield: Bad Company game was an entertaining blast, with its crudely destructible environments and snot-nosed cast of irascible characters blagging dodgy gold in the middle of a war-zone. Now here comes EA's Swedish studio, DICE, making no secret of the fact that it wants to add another choice to that list: Bad Company 2 or Modern Warfare 2? Pepsi or Coke? Beatles or Stones? SEGA or Nintendo? These simple, binary pop-culture choices prompt endless arguments about which is best, but also help us define who we are and who we stand with. ![]()
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