That has me thinking, though... If you were to kick someone into the path of a train, you would no longer be a pacifist but would the game count it? Likewise, what if you use a gun, but only to shoot out a window?
Pacifist is complete a single chapter without firing a gun. The Prologue level should be enough.
Test of Faith is complete the game without shooting an enemy. Which means you can shoot guns all you like so long as you don't hit an enemy. (If you shoot an enemy, let them kill you, and then restart from the nearest checkpoint, this will negate Test of Faith.)
I loved this on 360, got a bunch of three-stars, but when I heard that the PC version was better I just couldn't justify buying it again. But for $5...
cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
edited December 2009
I ran into a huge game-breaking bug. The Chapter 6 cutscene freezes up before it loads, and nothing happens. When I load the game, it goes right back to the train sequence at the end of Chapter 5.
I ran into a huge game-breaking bug. The Chapter 6 cutscene freezes up before it loads, and nothing happens. When I load the game, it goes right back to the train sequence at the end of Chapter 5.
Is there any solution? Steam version, by the way.
I didn't run into that bug and I just finished the game last week. (Steam version here too.)
DisruptedCapitalist on
"Simple, real stupidity beats artificial intelligence every time." -Mustrum Ridcully in Terry Pratchett's Hogfather p. 142 (HarperPrism 1996)
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cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
edited December 2009
I since found a solution, sort of. It's load times. After around two minutes or so the cutscene resumes.
It's probably just a timing issue. You have to do them quickly enough to count, but not too quickly or they won't all register. Anything involving wallrunning, especially on a console, can be tough to get right at the beginning.
In the part where you have to tap lb rb lb (run up a wall and jump off to a ledge).
Is there some kind of trick to it? I follow the instructions and I still get the failed message. I ended up giving up on the tutorial because of it :l
It's a little poorly explained, but it wants you to do a wall-run (as in, jumping to the wall so you run along it rather than up it). Doing the quick-turn-jump during that will get you up there.
Today I saw a mirror’s edge comic in my local bookstore. It was plastic wrapped, so I couldn’t glance through it, although it did say on the front cover that it was written by Rhianna Pratchett and that it’s a prequel about Faith’s origins. Has this been round for ages, and is it any good at all?
Today I saw a mirror’s edge comic in my local bookstore. It was plastic wrapped, so I couldn’t glance through it, although it did say on the front cover that it was written by Rhianna Pratchett and that it’s a prequel about Faith’s origins. Has this been round for ages, and is it any good at all?
There's your answer
Also, I picked this up again, for 360 this time. I still find this game super-enjoyable
Today I saw a mirror’s edge comic in my local bookstore. It was plastic wrapped, so I couldn’t glance through it, although it did say on the front cover that it was written by Rhianna Pratchett and that it’s a prequel about Faith’s origins. Has this been round for ages, and is it any good at all?
There's your answer
Also, I picked this up again, for 360 this time. I still find this game super-enjoyable
So what is that supposed to mean? Some say that the only thing she got from her father was the name...
Judging by Mirror's Edge's writing, yes, that's what I'm saying
She's done plenty of acclaimed writing in the industry that had nothing to do with Mirror's Edge. And there's nothing wrong with the dialogue in Mirror's Edge either.
Mirror's edge would have probably been quite restrictive, as there was a tutorial and half a level before the police started chasing you everywhere and you're fleeing for your life all the time, which gets in the way of the plot. And she'd probably have had to squeeze a larger, more comprehensive plot into something very small. Everything that happens in the plot could have been made better with a little more backstory and a little more acquaintance with the characters. And the gameplay just doesn't allow for that.
Judging by Mirror's Edge's writing, yes, that's what I'm saying
You realise that contract writers don't really have much of a say in the games design, right? From what I've gathered, they're basically just given a bunch of pre-designed scenarios and told to get the story to make sense. Sometimes it can work out (Batman: Arkham Asylum), other times it's completely incomprehensible (MW2).
Btw, quoting her name and then saying "There's your answer" is really not an insult. She's Terry Pratchett's daughter.
Btw, quoting her name and then saying "There's your answer" is really not an insult. She's Terry Pratchett's daughter.
Being the offspring of an acclaimed professional really doesn't mean anything
Yeah, I suppose you're right about the constraints though
Still, I don't even see why they'd bother picking big names when they're going to be that constricted
It doesn't reflect well on either them or the writer
There are very few good writers in the videogame industry and while it's not the best solution, what would you rather have? A patched up lifeboat or a lifeboat that still has holes in it?
The industry would obviously be in a far better place if every game designer could write as well as Chris Avellone and Amy Hennig but the reality is, there really aren't very many good writers in the videogame industry. So while hiring a contract writer may not be the best solution, it's still a hell of a lot better than having a messed up story that doesn't make any sense.
Also, being the offspring of an acclaimed professional means she has magic genes.
Writing for games is a complicated affair. But the chief issue is that games writing is only starting to get recognised as a part of the game making process, and not something that's simply farmed out to people completely detached from the project (or worse, given to Ted from testing to finish up in-between writing crash reports).
I remember a while back I was reading an interview with one of the lead writers on Bioshock, who was actually also the writer for Gears of War. One of the first things they asked her is why the huge discrepancy between the two with regards to treatment of story. I mean, how is it that whilst Bioshock is remembered for its writing, in Gears of War the storyline isn't something you'd want to put on the back of a cereal box?
The main issue is author involvement in the product. Most often what happens is that the author is contracted to hammer out the story to the game early on and largely in isolation from the rest of the game development barring the odd piece of character art and background information about what's happening. The story gets made and handed over, but the devs are still working on the final product. Levels and ideas change, characters and situations change and are moved around, and all of it happens without the involvement of the author, and the script gets hacked together in order to fit, often losing all the important bits as well. That's when you end up with something like Gears of War. Gears of War went through a lot of iterations and changes during its development, but the author wasn't involved in any of that, and wasn't adapting the story for the game. As a result it just ended up a mess. There was actually a tonne of backstory and detail to the game, but it was never really presented in the game. Heck I never even knew that emulsion was supposed to be a fuel source until I happened to catch an old ad for Gears where it's mentioned as such.
There was an interview with Chet Faliszek (Valve, wish I could find it now) where he basically said he could never work like that because fundamentally it doesn't work, the author has to be part of the development group and involved with the project from the start, not just on the sides writing. Instead the author is involved not just in writing the story and dialogue, but also involved even in elements of the level design and character design, because these are all aspects of the story being told. An example might be that if you look at Valve games there's always a lot of incidental narrative happening in the background, more than most other games try for. So even as things change and remain fluid throughout the project, the author is still there as a part of the development team and adapting the story and dialogue along with it.
I mean the interesting thing to me is that whilst games like TF2 and Left 4 Dead are ostensibly multiplayer only, their characters feel far more fleshed out to me than any of the ones in Mirror's Edge.
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AthenorBattle Hardened OptimistThe Skies of HiigaraRegistered Userregular
edited February 2010
I just beat ME, and was thinking about how the story was such a hinderance to my enjoyment. The character turns were predictable, the ending was a mess (oh God what a mess), and in general it was sloppy. But you can instantly tell from the unlockable galleries that it was heavily changed in development.
Personally? I would love nothing more than to become a video game writer. It's been my dream since I was in High School. It's the true reason I went into English Studies instead of IT. I believe in the philosophy of games as art, but I also believe good literature is art. I would love to see the two melded, and I have been influenced by such games as Half-life and Homeworld. In fact I just woke from a dream where a (somewhat poor) continuation of HL3's plot was going on in my head and your character has to rescue Gordon.
It's kind of surprising, really, how much the game industry wants to reject Hollywood convention. The best Hollywood movies have the writer on call almost all the time, helping the director craft the movie -- if the director isn't the writer, of course. They also focus on framing, pacing, sound... All these things games most certainly need, as all are the beats of good storytelling. Instead we get games that have their strongest moments at the beginning, that have uneven pacing, ignore sound direction, and don't tell anywhere near a meaningful or enjoyable story.
What I wouldn't give to change that in the industry.
good point Athenor. I was thinking the same thing after I played the fan project for Ultima V. The director had spent a lot of time working with his writing staff creating all sorts of new dialog lines and even dialog lines for plotlines that most players weren't likely to encounter often. His attention to detail was amazing and really made the fan patch shine.
It's a shame that DICE had to dumb down their original concept for ME.
DisruptedCapitalist on
"Simple, real stupidity beats artificial intelligence every time." -Mustrum Ridcully in Terry Pratchett's Hogfather p. 142 (HarperPrism 1996)
I guess I'm the kind of reader who can often forgive middling plots for great worldbuilding (*cough* Bruce Sterling), and I felt ME succeeded so well its sense of immersion that it wasn't so much of a problem that the writing wasn't exactly taut. But that's just me.
I guess I'm the kind of reader who can often forgive middling plots for great worldbuilding (*cough* Bruce Sterling), and I felt ME succeeded so well its sense of immersion that it wasn't so much of a problem that the writing wasn't exactly taut. But that's just me.
That part I don't have an issue with. Reading the news posts in the elevators, stopping and listening to conversations, apparently there are voice clips that play when you pick up packages...
But immersion alone doesn't make a good story, it makes a good setting. Myst has an AMAZING setting, and a pretty good story once you start digging. It's one of my favorite PC stories, in fact. ... And here is where I'd post an example of a good story with a crappy setting/world, but I can't think of any sadly. Maybe the original Perfect Dark?
Just beat Mirror's Edge on my PC, and loved it. One of my all time favorite things in games is a good, immersive FPS with fluid animations and camera work. Mirror's Edge had all of these things, and fantastic visuals too boot.
In fact, I think DICE did such a good job with texturing and their use of ambient occlusion, I'm going to post some of my favorite pics I took while playing (scaled down from 1920x1200)...
Maybe it's just because I played it on the PS3 the first time and prefer that controller for this particular control scheme, but playing through it now on the 360, I was doing shit-bad at a lot of parts and it definitely didn't feel like it was always my fault
Particularly the mall and one of the parking garages, most of the stuff where I was fighting enemies and it didn't seem to be responding the way I remembered it
Still a fantastic game though overall, and I'm hopeful for ME2
Posts
Did you shoot them to get them to do this?
That has me thinking, though... If you were to kick someone into the path of a train, you would no longer be a pacifist but would the game count it? Likewise, what if you use a gun, but only to shoot out a window?
PSN:RevDrGalactus/NN:RevDrGalactus/Steam
Test of Faith is complete the game without shooting an enemy. Which means you can shoot guns all you like so long as you don't hit an enemy. (If you shoot an enemy, let them kill you, and then restart from the nearest checkpoint, this will negate Test of Faith.)
PSN:RevDrGalactus/NN:RevDrGalactus/Steam
Mirror's Edge! $5! Again!
STEAM | XBL | PSN
It's downloading already.
Good to have a digital-only copy in case my disk gets misplaced. For $5, it's worth a backup.
I just got the PC version, and they cut it down two days later.
Oh well.
Does anyone know how I can get at some of the textures they use in the game? I'd love to use some of the paintings as PC backgrounds.
Is there any solution? Steam version, by the way.
Dunno, I think you can view the paintings using the "extras" menu in-game, but I don't know if that means you can get a jpg or bmp of them.
I didn't run into that bug and I just finished the game last week. (Steam version here too.)
In the part where you have to tap lb rb lb (run up a wall and jump off to a ledge).
Is there some kind of trick to it? I follow the instructions and I still get the failed message. I ended up giving up on the tutorial because of it :l
Shameful PPH
It's a little poorly explained, but it wants you to do a wall-run (as in, jumping to the wall so you run along it rather than up it). Doing the quick-turn-jump during that will get you up there.
Steam // Secret Satan
There's your answer
Also, I picked this up again, for 360 this time. I still find this game super-enjoyable
So what is that supposed to mean? Some say that the only thing she got from her father was the name...
I love the game to death but it had a nearly non-existent plot (and when it reminded you that it was there, it did so because it was awful)
She's done plenty of acclaimed writing in the industry that had nothing to do with Mirror's Edge. And there's nothing wrong with the dialogue in Mirror's Edge either.
Mirror's edge would have probably been quite restrictive, as there was a tutorial and half a level before the police started chasing you everywhere and you're fleeing for your life all the time, which gets in the way of the plot. And she'd probably have had to squeeze a larger, more comprehensive plot into something very small. Everything that happens in the plot could have been made better with a little more backstory and a little more acquaintance with the characters. And the gameplay just doesn't allow for that.
Steam // Secret Satan
I swear to god, the dude who calls her "Faithy" makes me want to punch someone in the face.
Probably him.
Also, only one or two enemies at a time for those who got easily overwhelmed with the fighting
Make combat arenas as a bonus for people like me who loved the combat
You realise that contract writers don't really have much of a say in the games design, right? From what I've gathered, they're basically just given a bunch of pre-designed scenarios and told to get the story to make sense. Sometimes it can work out (Batman: Arkham Asylum), other times it's completely incomprehensible (MW2).
Btw, quoting her name and then saying "There's your answer" is really not an insult. She's Terry Pratchett's daughter.
Being the offspring of an acclaimed professional really doesn't mean anything
Yeah, I suppose you're right about the constraints though
Still, I don't even see why they'd bother picking big names when they're going to be that constricted
It doesn't reflect well on either them or the writer
There are very few good writers in the videogame industry and while it's not the best solution, what would you rather have? A patched up lifeboat or a lifeboat that still has holes in it?
The industry would obviously be in a far better place if every game designer could write as well as Chris Avellone and Amy Hennig but the reality is, there really aren't very many good writers in the videogame industry. So while hiring a contract writer may not be the best solution, it's still a hell of a lot better than having a messed up story that doesn't make any sense.
Also, being the offspring of an acclaimed professional means she has magic genes.
I remember a while back I was reading an interview with one of the lead writers on Bioshock, who was actually also the writer for Gears of War. One of the first things they asked her is why the huge discrepancy between the two with regards to treatment of story. I mean, how is it that whilst Bioshock is remembered for its writing, in Gears of War the storyline isn't something you'd want to put on the back of a cereal box?
The main issue is author involvement in the product. Most often what happens is that the author is contracted to hammer out the story to the game early on and largely in isolation from the rest of the game development barring the odd piece of character art and background information about what's happening. The story gets made and handed over, but the devs are still working on the final product. Levels and ideas change, characters and situations change and are moved around, and all of it happens without the involvement of the author, and the script gets hacked together in order to fit, often losing all the important bits as well. That's when you end up with something like Gears of War. Gears of War went through a lot of iterations and changes during its development, but the author wasn't involved in any of that, and wasn't adapting the story for the game. As a result it just ended up a mess. There was actually a tonne of backstory and detail to the game, but it was never really presented in the game. Heck I never even knew that emulsion was supposed to be a fuel source until I happened to catch an old ad for Gears where it's mentioned as such.
There was an interview with Chet Faliszek (Valve, wish I could find it now) where he basically said he could never work like that because fundamentally it doesn't work, the author has to be part of the development group and involved with the project from the start, not just on the sides writing. Instead the author is involved not just in writing the story and dialogue, but also involved even in elements of the level design and character design, because these are all aspects of the story being told. An example might be that if you look at Valve games there's always a lot of incidental narrative happening in the background, more than most other games try for. So even as things change and remain fluid throughout the project, the author is still there as a part of the development team and adapting the story and dialogue along with it.
I mean the interesting thing to me is that whilst games like TF2 and Left 4 Dead are ostensibly multiplayer only, their characters feel far more fleshed out to me than any of the ones in Mirror's Edge.
Personally? I would love nothing more than to become a video game writer. It's been my dream since I was in High School. It's the true reason I went into English Studies instead of IT. I believe in the philosophy of games as art, but I also believe good literature is art. I would love to see the two melded, and I have been influenced by such games as Half-life and Homeworld. In fact I just woke from a dream where a (somewhat poor) continuation of HL3's plot was going on in my head and your character has to rescue Gordon.
It's kind of surprising, really, how much the game industry wants to reject Hollywood convention. The best Hollywood movies have the writer on call almost all the time, helping the director craft the movie -- if the director isn't the writer, of course. They also focus on framing, pacing, sound... All these things games most certainly need, as all are the beats of good storytelling. Instead we get games that have their strongest moments at the beginning, that have uneven pacing, ignore sound direction, and don't tell anywhere near a meaningful or enjoyable story.
What I wouldn't give to change that in the industry.
It's a shame that DICE had to dumb down their original concept for ME.
PSN:RevDrGalactus/NN:RevDrGalactus/Steam
That part I don't have an issue with. Reading the news posts in the elevators, stopping and listening to conversations, apparently there are voice clips that play when you pick up packages...
But immersion alone doesn't make a good story, it makes a good setting. Myst has an AMAZING setting, and a pretty good story once you start digging. It's one of my favorite PC stories, in fact. ... And here is where I'd post an example of a good story with a crappy setting/world, but I can't think of any sadly. Maybe the original Perfect Dark?
In fact, I think DICE did such a good job with texturing and their use of ambient occlusion, I'm going to post some of my favorite pics I took while playing (scaled down from 1920x1200)...
My favorite:
More:
This game was not good.
I personally wasn't crazy about the story.
Maybe it's just because I played it on the PS3 the first time and prefer that controller for this particular control scheme, but playing through it now on the 360, I was doing shit-bad at a lot of parts and it definitely didn't feel like it was always my fault
Particularly the mall and one of the parking garages, most of the stuff where I was fighting enemies and it didn't seem to be responding the way I remembered it
Still a fantastic game though overall, and I'm hopeful for ME2