Harry’s cam­era is the game’s most in­trigu­ing de­vice. It turns you into a col­lab­o­ra­tor, es­sen­tially, creat­ing your own war me­mo­rial within that of the de­vel­oper. In the­ory, your choice of pic­tures has wide-rang­ing ram­i­fi­ca­tions, as Harry’s pho­to­graphs make their own way through the world and at­tract pos­i­tive and hos­tile re­ac­tions, hours after you take them. It’s spoiled, how­ever, by game de­sign which tags cer­tain scenes as wor­thy of at­ten­tion – a tacit re­ward me­chanic, which frus­trates at­tempts to as­sem­ble your own vis­ual cri­tique of the war. While some pho­to­graphs will ab­so­lutely come back to haunt you, there are also too few op­por­tu­ni­ties to elicit re­ac­tions via your pho­tos. Harry’s send­ing pho­to­graphs to his sweet­heart Ju­lia, in par­tic­u­lar, is a sorely un­der-utilised source of dra­matic ten­sion.

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