Review: Catwoman (PS2)

Normally a high-profile license is in safe hands with Electronic Arts. But the constricted development time brought about by the need to have the title on the shelves for the summer has conspired to create what can only be described as a bitter disappointment in Catwoman.

Given the success of X-Men and Spider-man, Catwoman seemed another character from the comic stable worthy of a big-budget production. You take the lead role of Patience Phillips, aka Catwoman, who is perfectly modelled on Halle Berry. Despite her obvious good looks, Patience is a quiet woman who has no career ambitions and lacks any confidence. However her life changes forever when she stumbles across some illegal activities by her employers – who swiftly have her killed. End of story, right? Unfortunately not, as Patience is revived by a kiss from an Egyptian midnight cat. Thus is Catwoman born, and not only does she vibrate with confidence; she comes armed with several unique feline abilities (not to mention the purrrfect pleather outfit).

With the main character possessing such extraordinary climbing and athletic abilities, it comes as no surprise that Catwoman is a combination of platforming and action. While there are some good ideas in this game, they are overshadowed by poor design and issues indicative of the title being rushed. However, Gamestyle will start with the few positives that demonstrate what could have been.

One expects a glossy, Hollywood-styled presentation from Electronic Arts, and Catwoman delivers. The menus are exquisitely presented and lend themselves to the widescreen format with ease. Catwoman herself is perfectly realised and animated. The likeness is exceptional and EA has exploited the license to deliver a perfect carbon-copy of Halle Berry. Ignoring the controller for a few minutes whilst playing the game highlights this, as instead of being treated to a witty piece of animation, you receive a provocative cut sequence.

It’s unfortunate that the same level of gloss was not put into the design of Catwoman. Continuing this theme is the implementation of Catwoman’s various abilities which can be purchased by meeting objectives and collecting points. There is tremendous potential scope for combat, using the whip and pouncing on opponents. But it goes wasted on opponents that are mentally redundant.

Visually, Catwoman is a triumph of minimal loading and the expertise of EA. Games (unfortunately) sell units based on their graphics, and Catwoman is up there with the best currently available. The animation, lighting, detail, sound and cut sequences are admirable. The only difficulty comes from the occasional hint of slowdown, but this is very much a rare occurrence.

Having such a wide scope of abilities actually becomes a problem when playing the game. Catwoman is so athletic and inclined to climb up anything that controlling her (at times) can be extremely frustrating. Trying to manoeuvre around a level, whilst the main character latches onto the nearest obstacle or feature is an obvious flaw. While it is pleasing that Catwoman will climb a box with only a prod of the analogue stick, it is not so effortless when faced with a scrap yard or nightclub obstacle course. Overly sensitive response in the analogue control itself only worsens the problem as you have to often correct and realign.

The actual control layout is another source of amusement. It forgoes using any of the familiar face buttons instead opting for the shoulder buttons to jump, crouch and fight. It’s far from intuitive, and to achieve the furthest jump you have to leave the analogue stick in neutral, which when hanging from the side of a building goes against normal convention. Gamestyle would suggest that the control system is in fact buckling under the strain of accommodating the wide range of abilities that Catwoman offers.

Yet the control and character traits could have been accepted were it not for a camera system that heightens the annoyance factor. In fact, it is so bad that it has to be experienced to be believed. The point of view switches at various times between free roaming, an isometric or side on perspective. Together these parts compile to form an unbelievable mess. In a game involving jumping it becomes a test of perseverance and patience. Catwoman does possess a fixed first-person view (for her cat sense), but when making jumps or fighting opponents it is of little use. Time and time again it focuses on Catwoman like a paparazzi photographer – failing to show what obstacles and dangers lay ahead.

Further problems exist with the extremely linear level design. There is only one way to achieve the limited objectives (that consist of nothing more than reaching the end, and performing a few moves en route). Given Catwoman’s athletic ability, it is rather strange that she can climb some walls, and not others. Another poorly planned inclusion is the checkpoint feature that suffers from bad spacing. At times checkpoints will come thick and fast only to be followed by sections (such as the power plant) where saves do not arrive until Catwoman has overcome several life threatening challenges. All of these problems combine to artificially extend the potential life of the main mode, as you struggle to reach the end. Yet still this is a short-lived game, and bonus comic features do little to prevent it being returned or gathering dust on your shelf.

There is no denying that Catwoman is only half the game that it could have been nor are there any excuses. Even with the widespread resources Electronic Arts can call upon, it failed to produce a fulfilling video game tie-in. A little less presentation and a lot more effort on the game experience itself would have saved this cat at least some of its nine lives

Rating: 4 / 10

Words by Jason Julier