Also, since Croal was so kind as to link to my thinking, it’s only fair if I direct you to his latest Big Idea column, one I eagerly awaited since he’s recently been on vacation. He cites three writers arguing that the gaming press can be too tough on control issues and mechanics in exciting an innovative new games. By comparison film reviewers were more forgiving and often championed weird new styles that often sacrificed technical proficiency.
First off, since I rather liked the demo, I should throw in his critique of Mirror’s Edge. It’s fairly widely repeated. I think I’ll still get it, but buyer beware.
From where we sit, the core mechanics of Mirror's Edge--the locomotion, or movement, of the main character--are exceedingly well implemented. The same is true for the twinning of the player and the camera. The shooting mechanics, however, are shockingly mediocre for a studio whose history and expertise lie in first-person shooters. As for the hand-to-hand combat, it's certainly well-animated and pleasing to the eye. Yet it's also both perfunctory and unforgiving, which means that it's somewhat satisfying when you get it right and thoroughly irritating when you get it wrong.
His larger point is that while innovation should be rewarded in reviews, it already is, and the concentration on mechanics is completely fair. “We see games with our hands. In other words, not only do mechanics matter .. but mechanics are also improvable.”
I do think graphics classically are given too much emphasis, often to the detriment of the rest of the game. But I agree that mechanics are different. They are the core of the game. Admittedly, I do think some independent film styles screwed with the fundamentals of film, but also film is a much more mature medium. When bad mechanics happen people often don’t seem to realize the rules they’re breaking.
Also, bizarrely, from what I’ve read in Mirror’s Edge the mechanics sometimes undermine the innovation:
As Penny Arcade's Tycho put it, "The main problem is that I love what they've done with the art and with the style of play, but when they start hounding me with these snipers and S.W.A.T. motherf---ers it quickly becomes a game I don't want. I guess the idea is to make it more exciting, but I was already having fun."
In this case, the criticism should help future innovators who need to stand up to people demanding traditional elements. From what I’ve heard, Assassin’s Creed had the exact same problem with lots of combat at the end implemented via an inferior combat system. Heck, again chiding the genuine masterpiece Beyond Good and Evil, why the heck was there no stealth options for the final boss fight? Thief pulled it off.
Anyhow, one other thought for any Mirror’s Edge sequels. Everyone seems to agree that the game gets more fun on repeated play-throughs, the real problem is the trial and error while needing to move fast at the start. This seems like a great reason to implement a more open world design that makes repeated use of some settings, letting you learn them and then go through them again under harsher circumstances. Ideally later on there wouldn’t just be cops to get in your way, but level design training wheels removed. That said, I don’t think Faith picks up new moves throughout the game, so it’s harder to make repeated features of the same area interesting.
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