Mirror’s Edge: 2011 review


Yea I know… This game is three years old and reviewed to death but I think it deserves another drop in the bucket of positive reviews. Simply put; it’s 2011 and I’m still playing this three year old game. It’s unique gameplay and visual design has made a lasting impression on me.

Another overlooked aspect of the game is the musical score composed by Magnus Birgersson. The music in any medium whether film, television or games creates and establishes the tone and mood of the story. And it’s no different in this game. The story and plot are thin, and the characters are not completely fleshed out, but in my opinion and observation, Mirror’s Edge is an experimentation in game design that worked.

Despite its shortcomings, this game gets a ‘Control Freak’ rating of 8.8 ControllUs.

 

 

 

Environment: Well designed scene and environment portraying a utopia-like not-too-distant future society.
Character Models: For the type of game and control, the characters were designed for efficiency.

 

The main character is Faith, who works as a Runner for an underground courier service in a futuristic totalitarian society delivering secret messages between underground resistance movements, in a city that monitors all electronic communication of its citizens.

 

Admittedly when I first played this game I hated it because of its unusual controls and gameplay, but the hatred was short-lived. It’s unabashed simplicity proves the old adage true, that… ‘Less is more’. It’s sole focus and emphasis is on running and momentum; employing the real-world sport of Parkour (a system of wall running and jumping).

Imagine a game like Call of Duty but without a dependence on weapons; and your main arsenals are your hands for punching & grabbing, and your feet for running, jumping and kicking your way through bad guys in beautifully designed stages. There’s also an element of puzzle solving (albeit in small form) within each level reminiscent of the Prince of Persia games, but all done in the First Person perspective. And instead of the war-zone set pieces of call of duty and other FPS (First Person Shooter) games, this story takes place within a sprawling urban cityscape on the highest skyscraper rooftops, to the lowest sub sections of the city.

 
Music Score: Wonderfully composed by Magnus Birgersson, and is pivotal in this game as it created a type of secondary character within the game.
Sound Effects: Great, especially in interior stages where echos and background sounds are detected realistically.
Voice Acting: Good, but most of the voice acting is done in between stage cut-scenes and not during gameplay.

 

While this game isn’t for everyone it does convey a heavy sense of innovation and did fulfill my expectations as a fan of strategy games; though at some points it was annoying and infuriating it only made the game more invigorating to play through. I for one am hoping for a sequel. As of March of 2011 EA has stated that they are contemplating a few ideas for a sequel, but as of now nothing is set in stone production-wise.

The game is currently priced around $15-$20 new.

 

_by ConGame

© ConGame | CCU 2011

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