L.A. Noire feels so different from anything I’ve ever played before (or at least in recent memory) that trying to condense my thoughts into something coherent was somewhat of a challenge. That said I can only hope I’ve done the game justice, and that you enjoy this review.
Rockstar is the infamous developer of the Grand Theft Auto series and, more recently, Red Dead Redemption. While GTA IV and RDR pushed a powerful and engaging narrative, the former was built on a foundation of destructive, often murderous gameplay and the latter, while markedly tamer, still asked for the occasional wanton slaughter. L.A. Noire however, is a crime thriller starring a detective for the Los Angeles Police Department. A far cry from the open playground of mass destruction that characterizes Rockstar’s other titles Noire tasks you with protecting the people. Investigation and interrogation, more than gunplay and brutality, are the tools of your trade. Those expecting a 1940’s GTA will be thoroughly disappointed. Noire is slower and more subtle; players are trained not for violence but inquisition. Cole Phelps, a decorated veteran of World War II, is the star of this interactive neo-noir. With a wife, two daughters and a house in the suburbs, he is simply a man trying to forget the war and make his way in the cultural dynamo of 1940’s Los Angeles. Slathered on a rich framework of classical adventure-style gameplay is a well-crafted narrative brought to life with a fantastic cast of wounded but genuine characters. L.A. Noire is certainly an ambitious undertaking and I think it is remarkably successful overall, but not without its faults.
L.A. Noire cannot be directly compared to most modern AAA releases. The only major title that comes to mind is Phoenix Wright, and even that comparison falls short in light of Noire’s sheer scope. Like PW, you wander about crime scenes gathering clues and interrogating people of interest, gradually piecing together a chain of events. The differences are mostly in the abstract facets of each namely the atmosphere and the attention to detail. Where Phoenix Wright was a small game with a narrow focus, Noire steeps you in its world showing you a vibrant time in American history.
The game’s color and flavor hang on a backbone of investigative cases. Most will involve the death or disappearance of an individual. As you climb the ranks of the LAPD you will work cases from four desks- traffic, homicide, vice, and arson- though the developers seem to have a very loose definition of “traffic” because apparently chasing a child-molester through a crumbling movie set counts. As each case begins, you will receive a basic report from your supervisor, along with a location to investigate. From there you will need to rely on good old-fashioned police work to figure out what went down and who will be moving into the big house.
Each crime scene will give you a small area to explore and look for leads. As you approach an object that can be examined, the game will chime and the controller will vibrate to clue you in. From there you can pick it up and manipulate the object. Most items are worthless, but a handful of strong clues will give you a solid foundation from which you can build the rest of your case. When you have found all of the important clues, the classic noir film inspired music will stop to let you know.
Thankfully, combing the crime scene for clues never really feels tedious. Feedback from your partner and other people at the scene can help if you get stuck, and it usually doesn’t last more than a few minutes at a time. The better clues can be more difficult to find and require some careful consideration of the given details of the case. Finding every clue, or at least most of them is vital; if you pass up an important piece of evidence, you may be led in the wrong direction, and charge an innocent person, prompting a heavy-handed reprimand from your superiors.
Rockstar offers one of the most intriguing, reflective and developed plots I have yet seen in gaming. Presented alongside the cases are chunks of Phelps’ experience in WWII and a series of newspaper headlines that tell a side story about a psychiatrist and a veteran who take to peddling drugs. Every detail is important. Subtle, early scenes became the core of later missions. Some characters are introduced earlier than they need to be, but the developers are careful to familiarize us with characters and develop Phelps’ relation to them parallel to main plot progression. As everything is folded into the central narrative the pieces fall together in a satisfying conclusion. The tale is definitely a somber one, but I was overjoyed to have experienced this level of care given to the story in a AAA release.
Team Bondi, a major contributor to the project, employed a new form of motion capture technology called MotionScan to bring the people of 1947 LA to life in unbelievable detail. The facial animations on display here are without a doubt the best in interactive media. Nothing else even compares. Shortly after I finished Noire, I tried playing some Mass Effect 2.I was stunned by the jerky, awkward expressions of my crew. I feel like I have been spoiled and after seeing how good people can look, I don’t want to go back.
Thankfully, this tech is put to excellent use in a delightful new mechanic – interrogations. In these sequences, you will question persons of interest on case specifics. These are usually basic things like their whereabouts the night before, their alibi and their relationship to the victim. It is here that L.A. Noire shows off its technical muscle. Incredibly realistic facial animations and a few hundred talented voice actors make interrogations feel natural. Subtle movements such as fidgeting, darting eyes, or even a nasal twitch are so lifelike that they can be reliably used to determine if a witness is lying. Traditional RPG-ists beware: L.A. Noire eschews attributes and experience points in favor of naturalistic skill – the years of people-watching practice accumulated from living in modern society. Of course, some career criminals and distraught persons can be hard to read, but in every instance the progression of the interrogation is fair and logical.
Cracking the exceptional liars can give you nice ego boosts when you manage pull it off. I jumped up and shouted “I freaking knew it! You’re a dirty, rotten liar!!” (though with more colorful verbiage) more than once. Conversely, there were times when I thought had the guy pegged, and I turned out to be wrong. My boss, in all his graphically detailed glory, chewed me out like a toddler through Halloween candy. Never before have I felt such a powerful investment in my performance in a game. I really wanted (and am currently working on) a perfect score on every case. If I don’t play perfectly, I actually feel like I am letting a person down. L.A. Noire excels at bringing you these kinds of moments, and evoking emotions not often felt when playing a game. Nothing quite compares.
Why do I feel so attached to my standing in a fictional Los Angeles? Perhaps it is the great attentionL.A. Noire places on player immersion. From the moment you start the game you are bathed in a smoky lounge atmosphere. An expertly crafted mix of original and licensed tracks contributes to the noir style in a big way. During investigation sequences, a smooth interlude plays in the background punctuated by clue-flagging chimes. Likewise, when grilling a suspect, successfully calling lies are rewarded with a few dainty piano key strokes followed by a steady crescendo that intensifies with sequential correct answers. As you stroll through the streets of Los Angeles, you might hear 1940’s radio shows and popular artists of the era. The original tracks feed the mood of the piece as a whole, while paying homage to the great composers of noir film. All of these touches work towards Rockstar’s ultimate goal of building tension and nestling the player into a living world.
Unfortunately, for nearly everything Noire nails, it falls just a little short somewhere else. Mistakes, easily forgiven in less polished titles are arrestingly conspicuous here. Lifelike facial animations are paired with awkward, almost robotic limbs, the brilliant moody score stumbles over uncomfortable shifts in tone and the transcendent crime drama is soured by the inclusion of pointless crap like collectable golden film reels. The emphasis on peaceful and intelligent resolution of crime and protecting the citizens of Los Angeles elevates the work, but I cannot shake the feeling that it could have better. And while this is indeed true of nearly anything, I wanted so bad to name it the “Citizen Kane of gaming” that I felt the superfluous material drags the work as a whole.
The best phrase I’ve heard to describe Noire is that it has the courage to be slow. Noire feels like it begins in medias res, because many important characters are initially known by Phelps but not the player. This potential incongruence is countered through the aforementioned flashbacks. We are exposed to the context for many of Phelps’ wartime relationships. When these story elements become significant, the player is aware and can sympathize with them.
Sadly, introductions aren’t always executed with such savoir-faire. Half-way through the game I am told that I am married. No build up to it, no prior hint at all, it’s just casually mentioned. While I am grateful that the developers make some attempt to introduce her instead of neglecting it altogether, it just seems odd that I can play for over nine hours and hear nothing about it. That’s the kind of information that typically gets mentioned. In a way, I can see how it fits with the tight-lipped Phelps’ personality, but I still found it odd. Additionally, we later learn that Phelps has daughters. From the context it is clear that they would have had to have been born before Phelps was shipped off the fight in the Pacific theatre. I feel that, if anything, this represents a wasted opportunity. A father suffering the separation from his wife and children in war could have been a remarkably potent arc, but it is never addressed.
In every sense, Noire is a game of contrast, of black and white. In recent years, so many games lack any sort of relevance. Rockstar was once my least favorite developer, but recently their focus on deep and engaging stories has been a welcome shift in focus. It is nice to see the industry, and Rockstar in particular moving past that. L.A. Noire, when it is at its best, will give you an experience like no other, but there are enough blemishes to warrant a degree of caution for anyone who is not typically a fan of dialogue heavy games. Those that are will be treated to a brilliant, though flawed work of fiction that is sure to spark plenty of analysis and discussion about the meaning of it all.
