Back when Battlefield: Bad Company 2 was in the early stages of its post-announcement period, the major feature of the sequel was “Destruction 2.0.” Which, really, is the kind of feature you’d find in a sequel to a game presumably utilizing Destruction 1.0. In an industry currently enthralled in the depths of iterative improvements on successful designs, I was expecting Bad Company 2 to just be more of what I dug about the original game, except now with its M rating I was also getting the in-world hit feedback (blood) that the Battlefield series has needed since its inception.
And, oh, how I dug Bad Company. The Battlefield franchise is one of my longest-running adorations in gaming. I, especially, sunk entirely too much time into Battlefield: Vietnam and Battlefield 2, but nothing that would compare to the amount of time I would spend playing Bad Company. I had a group of four or five friends, up to three of which would gather with me almost nightly for two-three straight months (an eternity in my attention span) and just jump online to play the same maps over and over. We developed an entire metagame out of Bad Company‘s “dog tag” feature, which awarded a player the dog tag of any victim killed with by a knife. We would hold comparisons at the end of a round based on which of us had acquired the dog tag with the most ludicrous name. And it’s Xbox Live, so the names were ever-so-reliable in their inanity.
The hook of the Bad Company ‘spinoff’ is two-fold: destruction and the “complete package” shooter (and, as it turned out, completely amazing audio). Destruction was always the selling point of Bad Company as a product. The ability to wreck the structural landscape made for a dynamic infantry combat experience that most games that claim “destruction” almost all thoroughly fail in delivering. This feature, combined with the ‘new’ (for the Battlefield franchise) Rush game mode which focused player attention on objective choke points, created a chaotic multiplayer pace filled with the kind of moments that make friends tell stories to one another the next day. If a target puts an obstacle in between you and him, the solution was almost always to switch to the grenade launcher attachment (which a number of guns had) and just blast away his safety net and kapow him in the face with a subsequent bullet. BC’s paramount feature was not the destruction, but the inevitability of vulnerability.
The quality of Bad Company‘s single-player component was not a selling point, but rather its existence in the greater whole of the game that was Battlefield: Bad Company. It was DICE’s first real attempt at making a full-on console shooter; a fleshed out single-player campaign combined with the franchise’s trademark multiplayer with a streamlined and improved approach to persistent rankings/stats and unlocks that started with Battlefield 2 and Battlefield 2142. As with any first attempt, the single-player was not on par with what the gaming public at the time wanted: the Call of Duty experience. BC treated its single-player in a way which befit the game’s design: lengthy, wide-open missions on suitably expansive maps. Players were given objectives and told to go get those objectives done, but the path and means players took to accomplish these objectives was left unspecified. If the player died, he was simply respawned at the last checkpoint while the battle waged on in his absence (there was no resetting of the game state). The narrative, too, was an appropriate level of camp in the modern war setting involving the search for gold amidst a building war between the United States and Russia. At one point in the game, one of the characters does a happy dance as he frolicks down a hill into an enemy encampment saying “There’s gold in them thar’ hills” (there actually was).
BC’s appropriately unique handling of its campaign was not as high-intensity and filled with the “holy shit” moments that the Call of Duty games have always thrived in. BC’s campaign was also filled with encounters that sometimes fizzled due to a poor player handling/approach of them as well as by a not insignificant amount of down-time between objectives. These are all qualities of the series that any Battlefield player knows well, though, and is part of the series’ charm (in my mind). The combination of intense, dynamic, unpredictable firefights with the exploration, traversal time, and the approach of a major encounter are hallmarks of the Battlefield experience. As such, BC’s single-player was not perfect, but who the hell cares.
Bad Company 2 relishes in just how not-Modern Warfare, specifically Modern Warfare 2, it is. The characters take enjoyment in the occasional direct joke at MW2, promotional materials outside the game actively mock various parts of Infinity Ward/Activision’s promotional materials for MW2, and so on. The problem here is not that DICE is not allowed to make fun of Modern Warfare or any other shooter because, well, that’s hilarious for everyone. The problem is that the Bad Company 2 campaign is, ludically, little more than a Call of Duty knock-off.
The most notable difference between the campaigns of BC and BC2 are the absence of the open maps and the large enemy bases with variable approaches (with few exceptions). In their place, we have narrow corridors with very defined paths and easily-identifiable trigger bounds to advance the mission and spawn the enemies in the next area. When a player dies, now, he must restart the game from the last checkpoint in a game world that is similarly restarted (unlike BC’s persistent state). It’s a very faithful recreation of the style of design that overfloweth the bounds of the first-person shooter genre, and a disappointing change to the promising, if flawed, structure of the first game’s campaign.
By switching to the rail-heavy (though not rail-exclusive) single-player progression style, it is disallowing players from fully engaging in the mayhem the destruction allows for. With the player always moving forward, he never has to worry about being trapped in a building with his back to cover that can get blown away by nearby enemies. He is never trapped up in a house with enemies attacking from all directions. He rarely has the opportunity to rush into a base and end up in a situation where his limited cover transforms into no cover whatsoever, and the exhilaration of barely surviving that scenario. What BC2 doesn’t seem to realize is why Call of Duty and its ilk employ that style. The Call of Duty games are notoriously carefully scripted. Infinity Ward (and Treyarch) aim for a very defined, specific sort of experience and they have customized their toolset and game to deliver that experience. This is something they do exceedingly well — better than anyone else in the industry right now. That said, as any Call of Duty game with a somewhat large map and a vehicle or two have proved, the game systems are not well-suited to much behind the incredibly fast-paced, intense infantry combat.
Battlefield does not have this problem; its wide-open, modal gameplay has defined the series since Battlefield 1942. Bad Company, especially, should have no feelings of inadequacy or doubt. Its general gameplay systems combined with the very well-handled destruction made for memorable, incredible, and continually enjoyable gameplay experiences in multiplayer. The overall dynamism and level of quality in the single-player portion of BC wasn’t to the level of its multiplayer, but it was DICE’s first real attempt at a full campaign. Rather than iterate on the original’s promise, though, Bad Company 2 takes the route of the games it mocks and the end result is a cage which limits the kind of dynamic gameplay that comes out of the Bad Company series’ trademark destruction.