With first-person shooters, it.s hard to shake the feeling that you're being led through a series of planned encounters - like when you have to hang around and wait for an AI character
to open a door, or endure a tedious cut-scene to unlock a set-piece. And while CoD4 is as guilty of this as the next FPS, it's hard to notice, or rather comprehend, as your senses wilt under it's frenetic pace, bewildering 360? explosions and jarring set-pieces. It's totally linear, but it feels like a million distractions are being fed into your brain every time you blink.
By binning the WW2 setting, Infinity Ward have freed themselves creatively - shorn of the weight of historical accuracy. As a result this is the maddest CoD yet. Forget traipsing around muddy fields and firing clumsy bolt-action rifles - Modern Warfare is a nuclear explosion of special effects and dizzying action. And this isn't simply an aesthetic change, it transforms the entire dynamic of the game, upping the pace and showing just how robust the engine is. Even during the most frenetic firefights it never wavers - from the pin-sharp facial expressions, to the billowing smoke and jaw-dropping torchlight, it's the game you bought your HDTV for. If you aim at an enemy's head - one shot, and he drops.
There's none of the sludgy movement, weedy spray paint weapons or collision problems that plague many FPS's. The game takes place over 30 days, from the perspective of two characters. Rookie
SAS soldier 'Soap' MacTavish is in Russia tracking down Russian terrorist Zakhaev, while US Marine Paul Jackson's after Al-Asad, a dictator who's just executed the president of a Middle Eastern country on live TV. After it transpires that these maniacs are in cahoots, the two campaigns collide and the Marines and the SAS end up working together to stop a volley of nukes obliterating the east coast of America. The storytelling is fast-paced and engaging, like a series of 24. And because it focuses on
two distinct groups of characters rather than a slew of faceless soldiers you really engage with the cast. When a major player dies later in the game we were actually sad. No, really.
And the difference between the characters extends beyond their dodgy accents. When you're playing as Jackson, it's all frantic street battles, frontline skirmishes and jarring close-quarters combat. The warzone, Generic Middle Eastern City 4B (it's basically Iraq, but
not), is a vicious gauntlet of exploding cars, suicidal soldiers with rocket launchers and a
seemingly endless stream of enemy reinforcements. But over in Russia the SAS boys keep themselves to themselves, only engaging the
enemy when absolutely necessary. In the first few missions your tiny four-man squad creep through fields and sleepy villages, silently taking out enemy patrols and avoiding helicopter spotlights. In one brilliant scene you cut the power to an enemy barracks, equip your night vision goggles and coldly execute the baffled
soldiers inside. The game alternates between the two characters regularly, which gives the game
texture and variety - something sorely missing from CoD3. In fact, variety is what makes CoD4 so special. The levels are linear, but most areas have several different positions to fight from, letting you flank the enemy with grenades or move to higher ground with a sniper rifle. One of our favourite tactics, especially indoors, is to lob a flashbang at a group of soldiers then run in and knife them (by pressing R3) as they stumble around rubbing their eyes.