Burnout Paradise

I know that the point of blogging is to present opinions, but sometimes you just have to say, "I don't know what to make of that." For instance, did you know that singer/songwriter Tori Amos was initially approached to take the role of the female lead in George Lucas' awful Howard the Duck movie? No? And... it's kind of hard to know what, exactly, that goes to show.

That's the case with Burnout Paradise. I can't say it's not terrible, because it is. It's absolutely terrible. But I can't say it's not brilliant. Because it's got brilliant coming out of the seams. It's a horrible mistake and a wonderful success and an abortion and a revelation all in one. And you'd think that that should in some way elevate it to the magical heights of Gaming Olympus alongside such balls-out conceptual apocalypses as Metal Gear Solid and Mirror's Edge - but it can't even make its mind up on that and resolves instead to be enjoyable without ever being breathtaking.

The Burnout franchise is a simple thing. You drive a car; the car goes very fast, and often it crashes. The crashes are detailed, epic, and almost pornographic - if lovingly rendered shots of twisted metal are what turns you on. Crashing isn't a punishment for failure as it would be in some games; it's where the game begins, lives, sires children, and dies. You crash, your flailing wreckage takes out a bunch of your rivals, and then you're teleported back to the road with a rolling start, ready to wreak some more carnage.

So Burnout Paradise has the basics in place. There's cars, and there's fast, and there's crashing. The difference from previous installments is the context. Where Burnout Takedown and Revenge (and the apallingly bad Dominator) had presented the gameplay as a series of isolated events, Paradise smushes it all together into a single fully-explorable city scattered with car-oriented things to do. And then makes it all... online.

A persistent multiplayer sandbox themed around the concept of high-speed metal smashing violently into hard objects? Let me ask you this: where do I sign up? Right? What is there not to love? And to a large extent that's not sarcastic. The driving action is solid, there's a heap to do, and the transition between online and offline play is orgasmically simple and sleekly elegant.

There's a problem, though, and it might be apparent from what the developers had to say about Paradise. Said Alex Ward, the game's creative director, "To create truly next-generation gameplay, we needed to create a truly next-generation game from the ground up." It's refreshing to know they were working from the ground up, rather than from left to right or inside to out (those are common beginner mistakes), but I challenge you to find a part of that sentence that isn't composed of buzzwords and cliches. What happened to, "To create fun, exciting gameplay, we needed to come up with solid concepts and then playtest the crap out of them"?

The most egregious sin is the complete castration of the crashing mechanics. Ability to steer your wrecked car into competitors? Gone. Ability to detonate your wreck to nuke nearby rivals? Gone. Much loved Crashbreaker mode, wherein you're challenged to score maximum property damage in a single epic multi-vehicular pileup? Gone - or, more accurately, transfigured into a decent but rather brain-dead mode called Showtime, wherein we learn that a wrecked car cartwheeling down a highway for upwards of ten minutes actually can be more than a little dull.

Another problem is the assymetrical layout of the map. In designing Paradise City, effort was made to include all the classic Burnout locales - beach, highway, countryside, downtown, and mountains - but the result is a map dense with detail on the eastern (city) side and packed with long stretches of nothing on the western (mountainous) side. All events in Paradise City have their finish line at one of the eight cardinal directions of the map, so when a race leaves you washed up at the Observatory in the north-west or the Wind Farm in the West, it's often a long drive eastwards before you can find anything worth doing.

While we're on the map - the serpent in this particular paradise - it's hard to picture the designers sitting around and saying to each other, "I think we can all agree, there's nothing that spices up high-speed racing like pausing the game to see whether you should take the first left or the second." I'm not sure what kind of a brain-spasm led to making "navigating" a part of the basic gameplay of Burnout but it's about as welcome as a feminist at a pro-wrestling match. When you lose events - as you will, frequently - you'll find that although about 10% of the time it's legitimately due to your poor driving, the other 90% of your frustrations will be missing turn-offs, taking sub-par routes, and accidentally driving into "short-cuts" that exit onto different roads going in wildly different directions.

The last of the conceptual problems with the game is the Smashes and Crashes. Throughout the city, giant red billboards and tiny yellow fences are set up. Each time you blast through one, the game gleefully informs you you've collected another Smash (or Crash), and when you hit these things while barrelling down a previously unexplored back-road at 100 miles per hour it's the perfect embodiment of high-speed craziness.

Unfortunately, there's 120 billboards and 400 barricades and you're encouraged to "catch 'em all". Once you're down to your last couple of dozen it's a process of spotting one from a distance, stopping your car, and then slowly circling the block working out how to get to it. The game helpfully tells you which parts of the city the missing collectables are in, but that doesn't change the fact that verbs like "stopping", "reversing" and "driving slowly" are pretty much antithetical to all that Burnout traditionally holds dear.

All of those complaints aside - and they're sizeable complaints - there's still a very solid game under the hood here. Events like "Road Rage" and "Marked Man", that involve violently shoving other cars off the road (or resisting their attempts to return the favour) are brutal, adrenaline-fuelled fun. Anything that launches your car into the air is excellent, whether or not you end up landing safely. There's over 75 vehicles to collect, and each one feels unique and identifiable. The soundtrack's reasonably okay, although the decision to make "Paradise City" play over each and every iteration of the game's endless opening menus is pretty damn inexcusable. And the truckload of free patches and downloadable content that the developers showered the game with long after its release is just this side of Valve's gold standard in ongoing support for middle-of-the-road games.

Two elements particularly stand out as genius. One is relatively simple, which is the Road Rules conceit. Any time you start driving down one of the game's many, many streets, a little timer starts running. You can totally ignore it, or you can floor the accelerator in the hopes of setting a new speed record (or "Road Rule") down that length of road. Your records are stored online and can be compared against the game's par times or the best times of yourself and the people on your friends list. The leaderboards are seamlessly integrated, showing you your friend's best time for whatever road you're currently driving along with a selection of other speed records via a constant text crawl at the bottom of the screen. It's a brilliant, "Care about this, or not," stratagem that makes the long drives back and forth between start and finish lines a lot more bearable.

The other is the online. An in-game interface keyed to the d-pad lets you find multiplayer sessions while driving, and when you enter them you do so without any transition - you're still in the same car with the same velocity on the same stretch of road, only now there's other players. The game tracks heaps of stats about other players and isn't afraid to share them with you in a variety of ways - most prominently through temporarily updating your local leaderboards to include the people you're playing against, but also through pump text at the start of races where your rivals' intimidating takedown and win/loss records are handed out with the enthusiasm of a professional sports promoter. The host can initiate races and other events that automatically gather up everyone in the session, or they can declare one of about 500 "freeburn challenges" which ask players to accumulate a total amount of airtime between them, or all perform a particular jump, or all meet in some ludicrous location like "the top of the waterworks". They range from trivially easy to epically hard and data on what to do, how to do it, and how close you are is well presented and engaging. Or of course you could drive around and smash into each other. That's fine too.

In the end Burnout Paradise is less about the cinematic road violence of previous entries in the franchise, and more about capturing the spirit of all those children who liked to take two toy cars and ram them into each other. It's a sandbox in the truest sense of the word, where the developers have given you moving parts and challenged you to find your own fun. It's a dismal failure as a Burnout game but a raging success as an accessible, understandable experiment in social play. It seems to keep getting $10 cheaper every three months so pretty soon it'll be basically free, which leaves you with no good reason not to check out a copy, I guess. And, y'know, try and beat my times.

Update

Please pardon the lack of posts; I've had a week or so where I just wasn't in the mood.

Gaming in brief:

- I finished the original Saints Row. It may unashamedly copy Grand Theft Auto lock, stock and barrel, but it's entirely excusable seeing as how it's exponentially better than any GTA up to and including San Andreas. (I haven't played GTA IV yet but I have a sneaking suspicion I'm still going to like Saints Row better.) The user interface is worlds beyond what GTA offers, the mission difficulty is set to "fair" rather than "infuriating", and - the biggest surprise - it has a fully fleshed out plot, complete with intelligent dialogue, characters you really care about, and subtle relationships you'll be thinking about long after you finish the game.

- Caught up some of the XBLA titles I've been meaning to try. The Maw is highly cute but so aggressively small-scale and challenge-less that it feels more like a demo or a toddler toy than a real product. Final Fantasy Crystal Defenders is one of the worst tower defence games I've ever played and it has the added insult of costing money to buy. Peggle is almost exactly the same game as the PC version, which is to say still totally awesome.

- I went back to Mirror's Edge to try to get more achievements, which is practically a first for me. In my house, once I put a single-player game back on the shelf, that's the last time I'll ever touch it, no matter what my intentions might be at the time. I'm speedrunning the story levels, and if the levels were thrilling the first time around they're even moreso when you play them this way. It feels like playing the game as intended; the only thing that stops it from being a perfect gaming experience is the punishingly high difficulty involved in getting a qualifying time at these things.

Left 4 Dead DLC, Battlefield 1943 Live, Lego Battles

Tidbits for those of you who don't obsessively trawl the gaming news:

- Left 4 Dead downloadable content on its way in the form of a "Survival" pack, featuring one new game mode (Survival) and two new Versus campaigns. I assume these are less "new" campaigns than they are adaptations of Blood Harvest Death Toll and Dead Air, the two single player campaigns that didn't make the jump to Versus first time around. (link)

- Battlefield 1943 (a sequel to Battlfield 1942, which I like to refer to as "the one that didn't suck" - take that, internet!) is getting a release on XBox Live Arcade and PlayStation Network, which makes me all happy inside. (link)

- The next Traveler's Tales Lego game will not, apparently, be the rumoured Lego Harry Potter or Lego Lord of the Rings but instead the much less exciting Lego Battles, which features no licensed properties but does have plenty of action from classic Lego lines such as "Castles" and "Pirates". Yay? (link)

The Other Problem With Choice

I've been playing Overlord, which I'm mostly enjoying, but I'm struck by the other problem with choice.

I talked about choice when I did my posts for Mass Effect and Knights of the Old Republic, and how it's most often handled quite badly, those games being the exception. Overlord handles it badly.

When you attempt to put meaningful moral choices into your game, there are three ways you can go wrong.

One: The choices aren't meaningful. Either the choice has no substantive effect on the story and gameplay, or the player is provided with no information on which to base their choice, effectively making it arbitrary.

Two: The game clearly indicates that there is a right choice and a wrong choice, where players who take the wrong choice are suckers. This can be due to an imbalance of in-game rewards, a less interesting plotline connected to one choice, or simply by the game making the player feel like a complete tool for picking the "wrong choice".

And three: the other problem with choice. Which is that "a wide range of moral conundrums" often just boils down to one decision, repeated ad nauseum: are you a good guy, or a bad guy? Sometimes it's whether to kill the prisoners or release them, and sometimes it's whether to bully the villagers or defend them, but they're not different choices, it's just the same one twice.

Games rarely make the middle ground interesting. Contextual morality isn't rewarded by game mechanics. If you look at Overlord's list of achievements you'll see one for "maximum corruption" and one for "minimum corruption" but there's no points to be had for "a fascinatingly complex character with an off-beat but internally consistent moral code". Once you've made your first decision to kill a peasant, you'd better stick to it or you'll be missing out on a lot of what makes Overlord worthwhile.

Overlord probably isn't the most appropriate target of my ire here; it's something of a special case, where it feels like the ability to not do evil was only inserted to make the core gameplay of "slaughtering every man-jack you see" feel more punchy. It's kind of the reverse of Mirror's Edge in that respect, where the ability to kill makes the choice not to more satisfying.

I'll have a full post about Overlord coming soon; I know you readers are slavering for my opinion of a two-and-a-half-year-old second-stringer game, and I intend to deliver. Stand by for updates.

Dante's Inferno Trailer

For those who missed this last week, I present the trailer for Dante's Inferno, being created by the team who did Dead Space and being published by EA. It's good to see the deep waters of 14th century religious allegory being tapped by such a taseteful genre as survival horror. Bravo.

(Yes, of course I'm going to buy it. Which part of survival horror didn't you understand?)

Mirror's Edge

Screw you all. Mirror's Edge was excellent.

I say this despite my criticisms of its character design, despite years of dissatisfaction with publisher EA, and despite a general antipathy towards platform games stretching back over several decades. I'm sorry, but it was excellent.

Mirror's Edge is a first person parkour (free-running) game. The creation of a parkour game was more or less inevitable after Casino Royale popularised the sport for film and Prince of Persia and Assassin's Creed did it in bastardised form for games. The majority of Mirror's Edge involves traversing an urban rooftop environment from various points A to points B using improbable but physically-possible acrobatics, all at an absolutely breakneck pace. It's unique, it's fun, and it's thrilling from beginning to end.

The excellence in Mirror's Edge stems from two areas. The first is the visual style, which is full of primary colours and sharp vertices. It evokes a highly realistic urban environment while at the same time being easy to read for players moving through it at high speeds. The game looks great, and it does it in a way that enables rather than obstructs play.

The second excellence is in the control scheme, at least as it applies to the XBox 360 version that I played. Almost all of the interactivity is mapped to the two left shoulder buttons of the controller. Left bumper (the upper shoulder) is "go high", while left trigger (lower shoulder) is "go low". You jump, climb, and run up walls by "going high", and you slide, break-roll and leg-tuck by "going low". Actions are context sensitive and always predictable - you very rarely slide, for example, when trying to break-roll, or jump when you want to climb.

Those are the basic controls. Right bumper does a 180 turn, most often used in a wall-run/flip/jump maneuver, and right trigger is "strike", used equally for punching out enemies, booting open closed doors, and crashing through panes of glass in mid-air. The "Y" button allows you to execute time-sensitive disarm maneuvers on enemies.

My main complaint with the controls is that you're always moving forward, so holding the analog stick up to move feels redundant (and starts to hurt the thumb). Given the racing flavour of the game, it would feel more natural and less hand-breaking to have an "accelerate" button mapped to the face-pad. But that's a small complaint. Generally the controls are visceral, intuitive, and achieve the goal of any good control scheme by allowing you to reliably execute the amazing without feeling like you're being babied or talked down to.

Like any platform game, you'll regularly make mistakes, and the cost of a mistake is usually plummeting to your death. Like any good platform game, there's no long term cost for these mistakes. Respawn points are placed intelligently, generally immediately before the start of any significant challenge, and a flubbed jump never costs you more than about 90 seconds of play. Also, you're never required to learn by trial and error - the learning process isn't about how to do things, but how to do things better.

One of the major complaints levelled against Mirror's Edge is its overuse of combat. Combat is definitely its weakest spot. It takes about three bullets or two pistol-whippings to knock you out on the default difficulty, which is a pretty thin margin of error. Using your character's library of martial arts moves feels clunky and unsatisfying, with the exception of the rather cool strikes she can do if she has a running start. Disarms are much more effective, but late game enemies give you absolutey tiny timing windows to do these, which can be frustrating.

However, a lot of the complaints about combat are misconceived. Mirror's Edge is a game about running, not fighting, and each and every combat encounter in the game can actually be solved more easily by finding the right parkour route than it can with your fists. Late encounters with squads of enemies which initially frustrated me suddenly became laughably easy once I discovered the optimal paths through the area. The infamous "sniper roof" and "server room" encounters on the game's final level have been designed to allow you to sprint through without downing a single opponent, if you're clever.

I love also that although the game lets you get your hands on your opponent's guns, it really encourages you not to use them. When you find yourself holding a firearm, throwing it away feels right, and it's very satisfying to get from start to end without shooting anyone regardless of whether the game awards you its rather finicky achievement for that task. This is how I want games to treat firearms - as a reality, but always in the context of there being a better way.

Anyway, combat may not be the roadblock that some claim, but running towards enemies in Mirror's Edge is not really fun, and these sections should have been brutally pared down. The best parts of the game are the chase scenes, where you're pursuing a fleeing enemy or being hunted yourself. These are the moments when you're genuinely aware of just how amazing your move set is, and there should have been more sections like this. The game doesn't stop often enough to give you time to reflect on its strengths.

The last highlight of the game is its music. The soundtrack is truly excellent, particularly the various remixes of the main theme, "Still Alive". It's one of those tunes that you'll be humming long after you've finished the last level, and I'm pretty sure that hearing it over coming months is going to get me excited about a sequel each and every time.

So - on to the bad stuff, which starts with the narrative. To say that the story of Mirror's Edge has a raging case of the sucks would be an extreme understatement. This is one of the worst stories I've encountered in a very long time. Tetris had a more engaging plot. From the beginning to the end it's badly told, horribly acted, appallingly scripted, schizophrenically paced, and does little to highlight the world, its characters, or any of the themes of freedom and movement inherent in the gameplay. The characters are unengaging and your long-term goals are vague or absent, and in a final kick to the face the game's ending fails to feature its major villain and leaves you stranded on a rooftop while most everyone you know and love is being hunted down like dogs. Plus all of the cutscenes are done in absolutely butt-ugly style of animation that has nothing in common with the clean, precise look of the in-game visuals.

Mirror's Edge is short. The story mode clocks in at maybe seven hours, with a lot of that made up of missing jumps and restarting from checkpoints. You can speedrun each level in less than ten minutes (often significantly less) so theoretically a godlike player could finish the whole thing in an hour and a half. From the way that important story points go missing it feels like maybe some levels were cut in order to get the game out the door on time, although given the overall incompetence of the plotting it may have just been intended that way.

Story mode is half of the game; the other half consists of time trials, which let you play specially arranged sections of the main levels as a timed obstacle course. Given the excellence of the basic gameplay, that's more fun than it sounds. The difficulty here is that the qualifying times for each course can be a little demanding until you find the optimum route, and your finishing time isn't recorded unless you beat the qualifier, meaning that a lot of attempts at a course can result in no visible recognition of succes. It would be nice if times were recorded no matter what, so even when you're sucking you can see whether you're sucking less. Also, you can download "ghosts" of other people's attempts to run against to find better routes and improve your time, but you can only access your friends' attempts, or the attempts of the top 50 or so players in the world, so as far as ghosts go you're limited to "unhelpfully poor" or "unhelpfully good". Ultimately YouTube, as always, is the solution.

The time trials, as I said, are better than you'd think, but it would be nice if they had more structure. The game tracks how many "stars" you've earned across all trials, and gives you some achievements for them (although even the first requires some pretty hefty practice), but there should have been some unlockables keyed to these stars, or some sort of reason to keep shooting for higher levels of excellence beyond the inherent satisfaction of success.

Still, Mirror's Edge attempts to create an entirely new style of gameplay and does a better job of it than 90% of those who try. Very few of its failures are to do with its core mechanics, which means it's created a strong conceptual base for future titles to build on. It's not going to be a game for everyone - the focus on precision and the short tolerance of error means this is a game for a hardcore audience, not casual players - but it's a solid continuation of a type of play which embraces well-loved franchises such as Mega Man and Sonic the Hedgehog and I see no reason why those who enjoyed games like those shouldn't thrill and revel in the realism and freedom that Mirror's Edge brings to that classic tradition.

Two Faiths

This is Faith, protagonist of Mirror's Edge. On the left is the original character design, as she appears in promotional artwork and in the game itself. On the right is a fan-created edit.

I've got a lot to say about Mirror's Edge, but I want to take a moment to talk about Faith. And about why the fan-created edit is better.

The key changes in the edit are that Faith has wider eyes, rounder cheeks, a larger bustline, more textured hair, a cleaner face, and the makeup is gone. The edit is better.

It's easy to misinterpret here. It's easy to think the question is, which Faith is more attractive to a male audience? The answer to that question is also the edit, but that's not what I'm talking about here. The edit is better.

It is excellent that the developers made Faith female. I've played through Mirror's Edge, and female was the right choice, on any number of levels. It is also excellent that they saw her as a strong female protagonist, and they carry this through inasmuch as is possible during the appallingly bad storyline.

Another thing that is awesome: they gave her a realistic body shape. That bustline on the edit isn't exactly fantasy, but it's unnecessary and not really ideal for someone who's going to be doing as much jumping as Faith. The original design for Faith includes some good calls, and they are to be commended.

Where they went wrong is the face. And the reason they went wrong is this: Faith's face is closed.

She's the protagonist of the game; more than that, she is the player's avatar. The player needs to be able to instantly identify with her, be welcomed into her world, and feel in tune with her motivations. Instead she's got this... face. In the picture above she's sneering; in game you only see her face a couple of times but it's got an almost robotic detachment to it. Either way, her face is closed - her squinty eyes and dirty skin and ludicrous make-up all come together to make a character who doesn't want you to get to know her.

Faces are icons. Humans, it turns out, are ridiculously good at idenitfying a human face.

We take our cues from the layout of the eyes and mouth. We've got a whole bunch of subconscious stuff going on when it comes to these parts of the body. Eyes which are large in proportion to the head evoke concepts of children, stimulating our urges of affection and protection. Eyes which are open and interested provoke engagement in the viewer (we tend to copy the expressions of people we want to engage with). Eyes with clearly defined edges are more iconic - they more loudly say "human" and therefore allow us to better project on a face; lines which break the outline of the eye make faces look more "alien".

This is basic psychology. It is the sad truth that when it comes to designing faces, there are ways that are better. The edited Faith has a sharper, cleaner face and is therefore measurably more effective at drawing the player into her world.

So, yes. Make realistic characters. Give us achievable female role models. Give us strong women doing awesome things who don't care whether or not they're impressing men. But, seriously, badly designed is not the same thing as interesting, and well designed is not the same thing as pandering to the masses.

Mirror's Edge, Dead Space Sequels

Mirror's Edge may not have performed quite as well as publisher EA were hoping, but that doesn't mean it won't be getting sequels. Probably once a year, if EA holds true to form. Same goes for their sci fi horror title Dead Space.

Joystiq reports on a conference call between EA CEO John Riccitiello and investors:

EA CEO, John Riccitiello, began the call by pointing out that 17 of the company's '08 titles earned aggregate Metacritic scores above 80, versus only seven the year before. New IPs – specifically Dead Space and Mirror's Edge – were praised, but Riccitiello pointed out during the Q&A portion of the call that these franchises will perform better once established. "Dead Space looks like a long-term big winner for us," he said, later confirming, "[Mirror's Edge] is going to go forward."

That's great as far as I'm concerned. Mirror's Edge is excellent, and possessed no real flaws that another six months in development couldn't have fixed. A sequel will give developer DICE a chance to smooth out the rough edges and show us what they were intending all along.

And yes, I've still got a review of Mirror's Edge coming, but I'm doing 14 hour days this week so it might have to wait till the weekend.

Mirror's Edge Demo

Yesterday I played the demo for upcoming EA/Dice parkour game Mirror's Edge. At the time I was impressed but not overwhelmed.

Things they got right:

(1) The controls are intuitive. Left bumper is "go high", left trigger is "go low", and that's all the buttons you'll use 90% of the time. Right bumper is a 180 degree turn, and right trigger is "hit things" which is equally appropriate for punching bad guys and bumping open doors. Face buttons are used for some specific moves including disarming enemies.

(2) Music. Which is gorgeous.

(3) Running. You will actually feel like you're running, not just floating across the environment. There's a real sense of physicality, of momentum, and of speed, which is good when you're generally navigating the environment but becomes awesome once you get some bad guys on your tail.

(4) Graphics are clean, sharp and uncluttered. They look good without getting in the way of your play.

(5) Physics. Faith falls at real-life speeds. That means it's a very short trip from the top of a skyscraper to the bottom, which is nice.

Things that aren't so good:

(1) Anything involving ledges. Shimmying on ledges is painfully slow and badly breaks up the pace, at least in the demo. It feels like this should be about twice as fast.

(2) "Failing" in the tutorial. During the intro level, any time you stuff anything up the game instantly takes you back before you tried. This has two problems; one is that you don't get to see the consequences of your failure. Attempting jumps is only exhilerating when it's understood that stuffing up means falling a really long way. Also the tutorial makes you watch your trainer do each move before you get to do it yourself, and these are effectively unskippable cutscenes you have to watch each time you stuff up.

Things I'm not sure about:

(1) Combat. It felt a little awkward in the demo but you don't get a lot of chances to use it so it may be that I'm just still learning it. It's very timing-based so it's probable that I'll eventually pick up the skill to make it work.

Anyway, having been impressed but not overwhelmed, I've woken up this morning realising that I must have more so I think I'll be buying this when it comes out.

Non-Molyneux Syndicate

Ask and ye shall receive. Barely had I uttered my desire for a new Syndicate game free of the taint of Peter Molyneux when the news came through that the thing was in development.

And who's making it? Starbreeze, the fellows who crafted Chronicles of Riddick: Escape from Butcher's Bay and The Darkness, two of the most criminally underappreciated games of recent years.

This is Very Good News (TM). Starbreeze have a track record of stylish atmosphere, tight narrative, and amazing attention to detail (albeit a fairly short track record). These are absolutely the people we want working on a project like this.

If the world keeps fulfilling my ridiculous franchise resurrection demands, I'm clearly going to have to make my wishlist more extreme. Where's my Blizzard-developed Alex Kidd real-time strategy, damn it?

Mirror's Edge Theme

Anyone want to hear the theme from upcoming EA/DICE free-running title Mirror's Edge? Here it is: "Still Alive" by Lisa Miskovsky, set to a fan footage compilation. Nothing to do with the similarly titled, and somewhat more awesome, theme from Portal.

Hey - how weird is it that EA are making original intellectual property that I actually want to play?

The Music of Simlish

Katy Perry doing her song Hot N Cold in Simlish as part of the trailer for Sims 2: Apartment Life. For those not in the know, Simlish is the fake language used in the Sims games, which helps give them their international appeal or somesuch. I'm not sold on Ms Perry as a particularly wonderful human being but this is one fine, fine trailer. Almost makes me want to play The Sims again.

While we're on the subject of Simlish-meets-singing, I thought I might direct your attention to some other gems of game-related re-recording that you may or may not have been aware of. By and large they don't run to my tastes in music but almost anything can become listenable in Simlish. Check 'em out:

Black Eyed Peas - Let's Get Retarded

Lily Allen - Smile

Pussycat Dolls - Don'tcha

The Veronicas - When It All Falls Apart

Datarock - Fa-Fa-Fa

They Might Be Giants - Take Out The Trash