Showing the grim, violent reality of combat was one approach. The idea of “no good war”, especially in the Cold War era of moral fogginess, began to extend beyond any specific conflict to the very idea of war, and the plight of the often young, often unenthusiastic men upon whom fell the responsibility of fighting and dying i.e. 12 O’Clock High (1949), Battleground (1949), Attack! (1956), The Bridge on the River Kwai (1957) a portrait which grew even darker and more morally ambivalent with the Korean War and the likes of The Bridges at Toko Ri (1954), Men in War (1957), and Pork Chop Hill (1959). Oh, there were still a lot of very patriotic, very thrilling back-patting war movies like The Flying Leathernecks (1951) and The Sands of Iwo Jima (1949), and exhilarating actioners like The Guns of Navarone (1961), but just as often postwar screens were treated to a more grimly realistic picture of what Eisenhower had dubbed “The Great Crusade,” i.e. “Maybe there’s only one revolution, and that’s in the beginning when it’s the good guys against the bad guys. There’s a line in Richard Brooks’ The Professionals (1966) where a disillusioned Mexican Revolution soldier turned mercenary catches some of the feelings of the time: In that light, a certain amount of disillusionment with the simplistic idea of the Good Guys valiantly triumphing over the Bad Guys was inevitable, and it wasn’t helped by the moral ambiguity clouding so many post-1945 conflicts. There was the Cold War, nuclear threats, proxy wars, Korea, the Cuban Missile Crisis, and the often violent dissolution of colonial empires. The end of the greatest conflict in history may have solved the problems of terrifying Axis global domination but brought little in the way of peace. But years before Terkel had found the right language for the thought, and even before the country’s embroilment in open conflict in Vietnam escalated to the point of national tragedy, there had been a major re-think going on in post-WW II popular culture about how we thought of and pictured a clash of arms. Strong points were the excellent gameplay, music, well-written story and strong sense of atmosphere.With his 1984 oral history of World War II, The Good War, Studs Terkel articulated the sad fact that there were no good wars, even a conflict most clearly justified and necessary as our engagement in WW II. The story is also genuinely dark in places (although I scare e asily) and I sometimes found it offputtingly depressing - though it's hard to make a post-apocalyptic world fun, I guess. Weak points were the characters, which are are less developed and polished than in Fire Emblem: Awakening, with fewer chances to interact between battles. The music is driving guitar-based rock which helps the sense of urgency and drama during battles. Battles against bandits are fought on different terrains, with units such as tanks, motorbikes and helicopters, each with different strengths and weaknesses.
The setting is on Earth, after a future apocalypse has wiped most people out.
#ADVANCE WARS DARK CONFLICT CHARACTERS SERIES#
It's part of the Advance Wars series and by the same makers as the more recent hit Fire Emblem: Awakening, with the same well-tuned gameplay and good quality art. A strategy game for the Nintendo DS games consoleĪdvance Wars:Dark Conflict is an above-average turn-based strategy game for the DS.
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