City of Angels v1.1

Truth by pantsu

While still enduring an aching back and waiting for the second MRI this year, everyday life is about as dark as the weather. These past few days my current mood has been nicely complemented by L.A. Noire. Its equally dark, cynical and harsh film noir world got remastered for the current console generation. While the improvements are mostly superficial, what worked in 2011 seems to work well even six years later. The story of Cole Phelps, a decorated WWII hero, follows his rise from an ordinary LAPD patrolman to the ranks of the most hard-boiled of detectives in 1947 Los Angeles. It’s a journey not without some quirks and annoyances but on whole, this is still a stylish and entertaining sandbox.

The main distinguising feature of the game are its interrogations of witnesses and suspects. By studying their expressions and body language, Phelps has to determine if their statements are true, doubtful, or outright lies that can be contested with evidence gathered during investigations. It’s a pretty novel and fun idea that always suffered from the hit and miss nature of interpreting the expressions correctly. It was never easy to determine exactly how the fairly hot-tempered Phelps would react to the selected choices. In this version, terms truth and doubt have been replaced with good cop and bad cop but that obviously doesn’t help much. The interrogations do provide a nice brain workout but it’s still deceptively easy to have a hunch and then double check the internet to ensure that it’s the correct one.

If L.A. Noire has been given a new lick of paint, it’s not particularly conspicuous. Despite additional makeup the game still looks somewhat dated and the streets of what is supposed to be a thriving metropolis often uncomfortably desolate. Luckily the cars, billboards, and landmarks of the era were originally modeled with such piety that merely cruising around aimlessly while listening to jazz and old radio plays is still delightful. Sadly the division between the main story and an actual sandbox has remained the same. While GTA style games often advance by driving to story markers on the map, L.A. Noire ushers Phelps from one story case to the next. Proper free roaming is only available after the man has solved enough cases to earn a promotion to a new division, and even then the free mode has to be separately activated by quitting back to the main menu.

Another nuisance that really should have been fixed is the inability to skip cutscenes. It’s hardly an issue the first time around but it’s not until a case has been concluded that the player finds out exactly how many pieces of evidence they missed, how well the interviews went, and how much damage they caused while driving carelessly around the city. Those aiming for perfect five star performance reviews probably have to redo a case or two, making it quite annoying to go through the same motions and cutscenes all over again. Even many of the action sequences are preceded by little intros that have to be watched after each failed attempt. That’s not to say L.A. Noire would be a particularly challenging game but especially in firefights, leaving cover is so awkward that Cole is often subject to some pretty cheap hits.

Those interested in collectibles will find that even if there were already plenty in the original release, there are even more in this remaster. Driving each of the 95 unique vehicles in the game is still a genuinely entertaining challenge but all sorts of film reels, badges, novels, and records are just the sort of pointless little trinkets that one usually bumps into only by accident or with a guide.

Despite the minor issues that really could have used fixing, L.A. Noire is still well worth a second go. It’s a gritty crime drama with easily 30 hours worth of content, and its depiction of the post-war 40s is highly versatile, credible, and enjoyable. Sure, the game’s world is strikingly gruff and unabashedly sexist but then again, that’s what high-class film noir is about. It’s really a pity that the game ended up being its developer’s only production as even with its faults, it remains a refreshingly original take on the sandbox genre.

Last week’s Black Friday came and went without much ado in this household. Good game deals in particular were hard to come by. In the end, I only grabbed a modest pile of PS4 releases that mostly fall into the “I suppose there’s no harm trying” category. Still, the fivesome of Darksiders II: Deathinitive Edition, The Last of Us Remastered, Resident Evil 7: Biohazard, Uncharted: The Lost Legacy, and The Walking Dead: A New Frontier were all under twenty euros each, a price point that usually makes me bite if I’m going to bite at all.

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