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But maybe that doesn’t matter - after all, it’s designed to be experienced at speed. Glass makes no architectural or municipal sense at all. Despite the overcrowding presumably plaguing this skyscraper-strewn future, architects apparently throw office space around willy-nilly, building lobbies the size of football fields for office buildings that never seem to contain people. Sadly, Glass is never really fleshed out beyond its beautiful, glittering architecture. The Bauble Mall! Could there be a more obvious name for a place of upper-class retail worship?
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Class is a big issue in the Mirror’s Edge future: the city is stratified into “loCaste,” “midCaste,” and “hiCaste,” the latter of which shops at someplace called the Bauble Mall. Like fanfic by a kid who just discovered cyberpunk, the world-building is painfully on the nose. The city even shares its name - Glass - with both a Google product and a Microsoft one, while every object, place, and abstract concept bears a CamelCase moniker. But while the reboot achieves its goals, its course corrections create new issues and reveal others we just didn’t notice before.Ĭatalyst drops players into a bright, futuristic city that evokes a Silicon Valley dream, like Blade Runner art-directed by Apple’s Jonathan Ive. In true video game sequel fashion, Mirror’s Edge Catalyst promises to correct the mistakes of the original, while expanding into an open world with a bigger story. First-person parkour promised so much, yet that first game failed to deliver. Simple! But EA and developer DICE struggled with that question in the first Mirror’s Edge: thrilling as it was, it was let down by poorly-tuned shooting and combat sequences that killed protagonist Faith’s pacing and the game’s pacing in general. To anyone who’s played a title in the series, the answer is easy: it’s about free-running over rooftops like you’re in a French action film.