Posts Tagged ‘Game’

Ace Attorney Investigations: Miles Edgeworth

The Ace Attorney series is notable for two things – firstly, it made the jump from being an obscure Japanese Game Boy Advance game to a global DS phenomenon. Secondly, after four games in the franchise, it hasn’t updated its core gameplay mechanics at all. Well, that’s all about to change now for the fifth game in the franchise, as you finally get to take control of one of the series’ most likeable personalities: prosecutor Miles Edgeworth.

This time the action centres around five cases, all of which have a hidden thread tying them all together, as you jump back and forth in time to unravel a complex mystery that haunts both Edgeworth and his new assistant, Kay Faraday. Along the way, some familiar faces crop up, including Detective Gumshoe and Franziska Von Karma. As the body count rises and the killers get more devious, both the player and Edgeworth are going to need all their combined mental prowess to crack the cases.

Of course, ‘mental prowess’ refers to one of the many changes to the usual formula in this new instalment. Instead of just blundering through an accusation like a certain defence attorney, Edgeworth has ‘Logic’, the ability to collect certain bits of information and pair them up to open new trains of thought. Unfortunately, this never gets any more complex than matching ‘there’s a key on the hook’ with ‘there’s a locked door’.

In addition to this is the new third-person perspective on the unfolding case. Instead of the normal first person lawyering (FPL?), you can now walk Edgeworth around a crime scene and gather evidence. It is, admittedly, very jarring to see legs for the first time in the series and some characters look downright weird in the new animation angle (the judge, in particular). It does add just enough onto the game to be classed as a new feature, but only just – while you will have a lot of time to investigate, you’ll spend several hours more watching the animations as they chatter away in the series’ trademark brilliantly scripted puzzles.

The game is as lovingly crafted as all the others have been, with the right mixture of humour, character and contradictions laced into the reams of text as well as any other title in the series. In fact, this might be the best scripted game of the lot so far. What does make it disappointing is that, for every new feature added, something else has been taken out.

While exploring the crime scene in more detail is a great new idea, all the touch screen and microphone features established in the last game have been discarded, as well as the crime scene recreations and video introductions. Testimonies and cross-examinations are now ‘arguments’ and ‘rebuttals’ – not that it makes a jot of difference to the gameplay – and the character animations are the same as the old GBA versions. Even the music is original series’ bleeps and blorks instead of the silky DS remixes. In addition, the murderer never makes it to court, meaning that you spend all your time at the crime scene, looking at things and pointing fingers. While it makes for a refreshing change of pace, there is still the overwhelming sensation that it feels less like justice and more like a witch hunt.

Perhaps what’s most disappointing about the prosecuting experience is that it doesn’t actually feel any different. As a prosecutor, your job is to accuse people of crimes and prove it was them, but before that, someone else will be arrested and you end up trying to clear them. For a prosecutor, you do a suspicious amount of defending.

As for finally controlling Edgeworth himself, it’s a bit of a mixed bag. While Phoenix Wright and Apollo Justice were both underdogs, Edgeworth is somehow too perfect, with his own train of thought only sometimes meshing with the player’s own. You’ll either be three steps behind him or one in front – the bond between player and protagonist seems slightly off.

That isn’t to say that it’s not a good game, because it really is. Like the rest of the entries in the Ace Attorney series, Investigations is chock full of stunning revelations, incredible plot twists and jaw-dropping conclusions. It even manages to ditch its longest-running gameplay flaw – this time around, it’s actually very difficult to get helplessly stuck, thanks to a crafty script and intelligent puzzles.

Investigations, like the previous four games, isn’t going to be for everyone. In fact, if you’re not already a fan of the series, this side story instalment is probably going to be the most difficult to get into of the lot. It’s perfectly enjoyable, deliciously humorous, mentally taxing and beautifully written, which makes it all the more disappointing that it isn’t the series evolution we were promised.

78 %

Mirror’s Edge 2: Faith’s Redemption

EXT. ROOFTOP – NIGHT

FAITH and her sister KATE are still hugging, behind them the helicopter spinning out of control, heading for the streets below.

FAITH
I’m so glad I rescued you, my sister Kate.

KATE
Thank you Faith. You’ve shown me how evil and corrupt THE SYSTEM is. And together we can take it down.

Below them, the helicopter crashes into an orphanage.

FAITH
Look at their disregard for human life. They make me sick.

KATE
Will it even make the news?

FAITH
If you can hear it through all that EVIL ADVERTISING.

A COP runs up to them.

COP
Excuse me, was it you who caused that helicopter accident?

KATE
My God, did I used to sound so misguided?

COP
I’m going to have to arrest you, I’m afraid.

Faith attacks the Cop, beating him over the head with a bit of pipe repeatedly while he screams. The Cop’s wife and children watch, crying. Eventually the Cop stops moving.

FAITH
THE SYSTEM is corrupt and we have to stop it. Come on, Kate. I’ll teach you how to Run. Because only by Running can we uncover the evil secrets behind those EVIL CORPORATIONS.

KATE
Show me.

They leap off the building together, into the first level.

Months of Agony in a Second-Long Sound Effect

You know that feeling when you’re really, really full? When your jeans start cutting into your belly and if you don’t undo them, you’re going to explode? Well, it turns out that actually there’s a really simple solution to this, and it’s been handed to us by games. The easy way to get around our wonderful first world ability to eat until we’re sick is to simply hide from the view of the plate for a few seconds. That way you’ll be able to tackle another course of steak in just a moment.

Naturally, I’m being an idiot and we all know it. Hiding from plates for a few seconds won’t solve a damn thing. But the problem is; why do games seem to think this is true? It’s against the course of logic. A few years ago all you had to do to evade an enemy in a game was run around a corner and hide behind a crate until they forgot what they were doing and went back to making themselves easy targets. Even if they’d seen your footprints, found the corpse of their best friend and noticed your graffiti on the walls screaming, I WUZ ERE LOLZ, it didn’t matter a jot to them because they had some patrolling to do.

Back then it was more to do with internal memory than anything else. So what if a guard walked away after unknowingly giving chase? So what if a corpse vanished just seconds after they hit the ground? As long as it kept the game chugging along at the same pace, the gamers didn’t care, and neither did the developers.

But nowadays there is a bigger problem in gaming. The limited internal memory has been almost completely excised from gaming – what with the Blu Ray discs containing room for 50 gigabytes and Wii games drawn on cardboard and animated by ADD-inflicted children – and little room is left for error. Guards now chase you a damn sight longer than they used to. Corpses remain on the floor for the duration of the level. But something much more evil and irritating has crept in to take their place.

I am talking about the recharging of health. A few years ago, a chunky health bar placed somewhere on screen gave a terrifying warning of your own impending mortality. Now there is only a faint red glimmer at the edge of the screen and a thumping vibration in your hands to tell you that you’re squatting on death’s doorstep, begging the reaper to try and chase you off his property. Instead of heath kits, medpacks, medics or magic fairies, the only way to recharge your ailing, bullet-ridden body is to simply not get hit for a few seconds – thus, you must hide behind a crate once again.

Who decided this was such a good idea? When did it creep into games, this idea that removing a permanent warning sign would be a great step forward? It’s one of those things that just makes you scratch your head in wonderment as to exactly why it’s been so readily accepted by the gaming community at large.

The humble health bar was a great thing, simply because there was nothing you could do about it. It sat there at the top, side, or bottom of the screen (or, in one case, on the protagonist’s breasts, forcing you to look down at yourself to check your current status) and every time you got hit, a chunk got knocked off. It was gut-wrenching, intense and forced you to constantly be aware of absolutely everything that was going on around you, to the point where every gamer can remember every single detail about most of the games they grew up playing.

Back before the health bar, there was very little. Sonic had his gold rings. Mario had growth spurts. The Ghouls n’ Ghosts knight had his pants. But the spirit was there: watch your every step! Be aware of your situation at all times!

Nowadays most games have adopted this ridiculously offensive notion that simply ducking out of a hail of bullets is a good idea to inspire you to keep playing. It’s a stupid system that detracts from the credibility of the game. I can understand that maybe the red mist drawing in across your vision is realistic, as is the ‘heartbeat’ vibrating in your hands, but what exactly is realistic about sitting down and taking a time-out?

Heath kits were never a realistic idea – they were always completely absurd, after all, they were just grey boxes with bright red crosses on them – but it was never about that. If you were shot for real, you’d see yourself looking at an extremely long and painful recovery process. That’s the health kit represents – months of agony, hospitals, doctors, unattractive nurses, stitches, x-rays, tutting relatives, sympathetic looks from work colleagues, time off to heal, madness from watching TV alone, lashing out at a loved one, divorce from a loved one, watching the loved one take the kids with them to their new partner they met at whatever event it was you didn’t go to because you were in the goddamn hospital having shrapnel taken out of your arm by a doctor who kept looking at you funny because you’d been shot and he reckoned you were a gang member who had it coming. That’s the health kit, right there. All that trauma compressed into one neat second-long sound effect. Not realistic, not in the slightest, but far and away more enjoyable and intense than the regenerating heath of today.

The main problem with regenerating health is that it lets developers off the hook for whatever bad design decisions they might make. Most games with regenerating health feature incredibly hard and unfair sections that get you stuck like peanut butter to a prostitute’s thigh. Night after night, you’ll wade against a horde of nigh-impossible enemies, constantly hiding to recharge, only to be killed because you needed one more second to collect yourself. If these games featured health kits – limited use, Jesus-I-only-have-two-more-left health kits – you can be damn sure the developers would put a little more thought into what they were doing. Instead, we’re left with offices full of giggling developers, throwing in ludicrously unfair sections over and over again, simply claiming, ‘It’ll look awesome to play, man!’ Even multiplayer is let down by this – what fun is it if the person who killed you is totally fine just a few seconds after your body rots into nothingness? And don’t even get me started on co-op gaming’s ‘tag, you’re alive!’ nonsense.

Now, if you’ll excuse me, I’m going to hide from landlord until he forgets I owe him rent. After all, I’m pretty sure one of us has a limited internal memory and it sure as hell isn’t me.

gumo-60-the-translation-game2

Man I hope this comes out okay. It’s dialogue-heavy and it seemed kinda blurry last night when I finished it.

Nope, it’s all good in the hood.

Anyways, I promised a while ago that I had an epilogue for the story and here it is.

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