![]() Ian confirmed that Hardline’s tone will be similar to that of the Battlefield: Bad Company games. While it’s too early to tell how well Hardline has been written, we can tell you that the tone of the game will not be heavy and dark. Both campaigns were heavily criticized for being no fun, and poorly written. Similar to TV shows, Hardline won’t feature a main antagonist but instead contain plenty of minor adversaries throughout the many chapters, without just a single one players will pursue through the course of the story.īattlefield 3 took the series down a dark and gritty route with its story, and Battlefield 4 followed suit. Each of these “episodes” begins with a “previously on” segment, which sounds corny, but fits with the story they’re trying to tell. Every chapter is presented as a different episode, which drops Nick into new scenarios while at the same time expanding the overarching narrative. Visceral Games was also careful to make sure that Nick wasn’t annoying as his dialogue was carefully written to ensure that he wouldn’t grate on the player’s nerves.īattlefield Hardline takes inspiration from cop shows you’d find on TV. He has his own family secrets, has to deal with being the rookie detective, and is locked in a heated battle for the affection of his boss. This extends to Nick himself, who has been developed to be as dynamic as possible. Ian’s philosophy throughout the development was, “people over plot.” By crafting dynamic and interesting characters, Visceral hopes that players will want to keep playing to learn and spend more time with them. Visceral Games is smart, however, and has found ways to craft a compelling narrative and main protagonist by focusing on the characters. Tom believes the reason why protagonists in FPS games are gruff, masculine men is because that’s the only type of character that makes sense. It’s also quite difficult to create a unique protagonist. Possible, but hard with a team the size of Visceral. Striking a solid balance between gameplay and narrative is only achievable when the level design and gameplay designers work with the narrative team throughout the development. Tom opened up about some of the challenges in creating a strong narrative for a game, because it is tricky. There’s potential with cops and robbers, but a good story would still needed to be crafted. Visceral Games saw potential, and went after it. ![]() This idea seemed fun and approachable, and surprisingly worked with Battlefield’s main gameplay pillars. Cops and robbers are abundant in other mediums, but rarely do we ever see them in gaming. While he did admit that a Dead Space-esque take on Battlefield would be cool, he and his team have been making sci-fi games for the past eight years and wanted a change. Though early to tell, Battlefield Hardline might just end up being the best story Battlefield has ever told.įirst off, we had to know, like so many others, why cops and robbers? Why not a sci-fi game like Dead Space? Why not Battlefield: Bad Company 3? Ian’s answer was plain and simple: the team wanted to do something different. We got to sit down with writers Tom Bissell and Rob Auten, and creative director Ian Milham to discuss the story of Hardline. Visceral Games hopes that the story of Nick Mendoza will resonate with gamers and make Hardline one of those rare games where the story is the star. Battlefield Hardline is gunning to be one of those releases when it launches in a few weeks. Every now and again you get a FPS with a great story, but these releases are too few. It’s difficult to deny that first-person shooter campaigns are typically less than stellar.
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