Magazine article New Statesman (1996)

Dark Arts: Trying to Copy the Film Business Has Its Pitfalls

Magazine article New Statesman (1996)

Dark Arts: Trying to Copy the Film Business Has Its Pitfalls

Article excerpt

LA Noire

Rockstar Games

[ILLUSTRATION OMITTED]

Arthur C Clarke once wrote that any sufficiently advanced technology was indistinguishable from magic. I imagine that's how anyone who hasn't played a computer game since, say, Doom or Sonic the Hedgehog might feel about LA Noire. The game, set in the police force of 1940s Los Angeles, is both very new and very traditional. The novelty comes from its unique motion-capture system: instead of blank-eyed heads parrotting clunky lines at you, LA Noire's characters deliver the sharp script with a mixture of grimaces, shifty eyes, nervous tics and eerily recognisable mannerisms. (The likenesses are so good that you can play a rewarding meta-game of "spot the American character actor": veterans of Heroes, Dexter and Buffy all appear.)

The story follows an LAPD officer, Cole Phelps (played by Aaron Staton, Mad Men's Ken Cosgrove), who is not long back from fighting the Japanese at Okinawa. He's a by-the-book cop in a motley police department, trying to bring justice to a Los Angeles that's just as corrupt as that of the films LA Confidential or Chinatown.

The movie references are particularly apt here, because this is a game that aspires, above all, to be cinematic. There's the budget, for a start reportedly upwards of $50m - which has enabled Rockstar to create an exquisitely detailed game world, complete with period cars and clothes (not to mention some very period attitudes to race and gender). The music, too, is subtly excellent, with Ella Fitzgerald and Louis Armstrong to drive to, and wailing jazz stings to indicate the presence of clues at crime scenes. …

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