Mirror's Edge is an action-adventure platform game where the player must control the protagonist, Faith Connors, from a first-person perspective and navigate a city.[1] To progress through the game and its storyline, the player needs to complete a series of levels that involve performing a linear sequence of acrobatic manoeuvres.[2] These include jumping between rooftops, running across walls, climbing pipes, walking along ledges, sliding down zip lines, and getting past opponents controlled by the game's artificial intelligence.[3] Faith's arms, legs, and torso are prominent and their visibility is used to convey her movement and interactions with the environment.[4] Her momentum is an important aspect of the gameplay,[5] as preserving it through multiple obstacles allows the player to run faster, jump farther and climb higher.[3] To help players chain moves seamlessly, the game employs a navigation system, called Runner Vision, which turns certain objects in a bold red color as Faith approaches them, allowing the player to instantly recognize paths and escape routes.[4]

Although the player can perform melee attacks and disarm opponents,[5] using weapons is generally discouraged as they slow Faith down and hinder her acrobatic abilities.[3] For example, carrying a weapon that is heavier than a pistol prevents the player from being able to jump and grab ledges.[3] Weapons have a finite magazine and must be discarded when they run out of ammunition.[3] If Faith has preserved enough momentum,[3] the player may use an ability called Reaction Time, which temporarily slows the gameplay down and allows the player to time their next move.[1] Faith has a certain amount of health which automatically regenerates when she does not take damage for a brief period. If Faith falls off a significantly high position or her health is fully depleted, the player must start the level again from the latest checkpoint.[3] In each level, the player may also find and collect three hidden yellow bags. These encourage the player to explore the game and unlock achievements.[6]

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The game's working title was "Project Faith" until it was changed to its current one in mid 2007, suggesting that the game's city is a mirror to its inhabitants.[14] American TV series Firefly and its film spin-off Serenity were cited as major influences on the setting.[20] Writer Rhianna Pratchett, who was hired a year and a half before the game was released, described the society portrayed in the game as somewhere between an anti-utopia and a nanny state, stating that the game explores the contrast between citizens who give up their personal freedom for a comfortable life and those who prefer to live on the edge freely.[9] O'Brien deliberately chose not to give the city a proper name because it was considered an amalgamation of many different cities,[18] blending both East and West aesthetics.[20] Around two and a half hours of in-game music were composed by electronic music artist Solar Fields. To ensure there was a good flow between the player and the game world, the score was designed to be very interactive and different parts transition seamlessly.[14] The game's main theme song, "Still Alive", was composed by Swedish producers Rami Yacoub and Arnthor Birgisson and performed by Swedish pop star Lisa Miskovsky.[14] The game went gold on November 6, 2008 and took nearly two years to complete.[20][22]

The second reason I love the change is that it allows you to be in that world for no reason at all, to run for the pure pleasure of running. Catalyst's greatest strength is still the feeling of movement. The pit-pat, pit-pat of my feet against concrete builds until I start to hear the whoosh of wind past my ears as I reach top speed, and then I'm gone, lost in the flow of the game. Slide under that vent, leap over the next, use a box as a springboard to reach a high platform, rebound off a wall to grab a ledge behind me, grab a zipline and repeat. It's exhilarating.

The rest of the time combat is as big a pain as it ever was. You can combine strong and light attacks, exploit moments in which your opponent is stunned, bump them into one another, bounce off the environment for stronger hits, and knock people over ledges, but none of these things feels fun to do. Animations are slow and the game occasionally struggles to sync up different character movements, robbing you of strikes. The rest of the time, it cheats. Kick an enemy towards a railing and he'll move slowly towards it then dramatically throw himself into it, like a stunt actor trying to sell a strike more than it was worth. Enemies cheat similarly in their attacks against you, with bullets sometimes coming out of their backs and high kicks auto-targeting towards you even as you strafe out of their way.

It even commits a few cardinal sins, including every variation on bad checkpointing: it places them before short cutscenes in a few instances, too far apart in another complicated combat-and-climbing section, and then at other times loads you right back to the edge you fell off even though that might leave you in the direct firing line of multiple turrets with no momentum to escape. Throw in the disappointing habit of moving to third-person not just for cutscenes but for enemy introductions and heavy-handed tutorialising and even the aesthetic purity of the original seems diluted. All of which, the second time around, makes me less want to champion Catalyst for the next eight years.

The opportunity to change his life presents itself in permutations of reality, but Sarah wants nothing more than to follow Rath back to his world. As their mirror worlds collide, Rath teeters on the edge of oblivion.

Faith infiltrates Ropeburn's office and overhears him on the phone, realizing that he's the one who framed her sister and that he's setting up a meeting downtown. Faith once again meets Miller to tell him this. Miller pulls a gun on her, telling her that he's being pressured by private firms who want to install more security on the city and that the only way he can get them of his back is to hand her over. Faith escapes and goes to the meeting. She gets the upper hand and interrogates Ropeburn. As he's hanging off the ledge of the skyscraper, he's shot by a masked sniper before he can tell Faith any pertinent information. She later intercepts Jacknife, convinced that he was the one who tipped off the cops that she was coming. He rejects the accusation, saying that if he had wanted her dead he would have done it himself.

Sometimes you can find small, almost trivial shortcuts while maintaining your speed, cutting out a corner from the ever-present red path. More often, though, improvised freestyling leads to a frustrating string of pointless falls and deaths as you test jumps of blind ledges, misjudge safe falling heights, or slip off an edge (or when the game just fails to let you grab that zip line that is literally inches to the right of your outstretched hand).

The Fury X isn't much better. In Mirror's Edge Catalyst, those dropped frames are the difference between making a jump and not; a lapse in input for one frame is enough to totally derail momentum (an in-game mechanic) and cause missed ledges.

I don't usually go for first person games, preferring to see not only myself in the world, but my surroundings themselves. In first-person games, you can sometimes fall off a ledge because you didn't look down, which acts as a counterpoint against the argument that they are more immersive - this would never happen to a real person unless they were a descendant of Wile E. Coyote. But Mirror's Edge's frantic freerunning style gives you set routes to parkour through at speed while still leaving your options open. Because everything moves at speed and the solution is always right in front of you, Mirror's Edge brings you into the world. Titanfall 2 is the only game that has attempted to replicate this with any real success, and even then, things are complicated by the shooter mechanics and HUD. Mirror's Edge is clean. It's just you against the world. be457b7860

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