Review: Beyond Good And Evil (NGC)
Hillys isn't the most expansive of game worlds, but it is one of the most beautiful... set upon a rippling (and dynamically-reflective) ocean are islands, factories, shops, a city and several hidden caverns and locations - all interconnected by the bustling signature of ships and futuristic aircraft. Zelda aficionados will feel right at home with the familiar placement of 'dungeons' - separated by impassable obstacles and upgradeable modes of transport - but where BG&E stylistically trumps Nintendo's elven adventurer, it falls somewhat shorter in the qualitative realm of design.
Beyond Good & Evil's world is populated by all manner of creatures: animals in human form, wildlife, alien races, plants and insects - all lovingly crafted with minute detail. This highly-stylised look extends to every 'aperture' in the game; indoor and outdoor environments are artistically skewed with strong lighting and ambient haze - which lends a surreal, almost industrial atmosphere - and heightened by superb sound effects and catchy, musical motifs. The Canal area of the city is one of the most technically-impressive and intricate that Gamestyle has witnessed; handling realtime data like water effects and the reflected flora, fauna and flying vehicles.
Travelling backwards and forwards is pretty much the order of the day; the hovercraft you begin with handles well (and doubles as your entrance vehicle for the various racetracks that Hillys is home to). Each of the main dungeons you must clear is obscured by obstacles - and these cannot be overcome until your craft has been upgraded (made possible by the acquisition and commercial trading of Pearls; which are scattered about and given as rewards for completing your objectives). It's a lightweight variation of the Zelda ideology which, while predictable, gives the illusion of freedom far more tenability than a simple lock-and-key approach would have done.
The personable characters (Jade, her Uncle Pey'j and members of the IRIS rebel faction) are likeable and strong... fleshed-out creations that really help you to care about what happens as they struggle to reveal the 'truth' (for the sake of all that is good). But herein lies the problem: the narrative takes a front seat and as a result the gameplay can be somewhat passive. Dungeon puzzles are far too obvious (with little deviation from pre-set paths), Jade's actions are triggered by events (like automatically drawing her staff for combat), and the game plays out like a flowing narrative - often ignoring the strengths of the medium. However, while sometimes its weakness, this can also be viewed as a saving grace. BG&E is a totally frustration-free gaming experience. There is little aimless wandering to be done (unless you choose to do so), an abundance of health, respawn points (that start you in the same room should you happen to be killed), and a general feeling of 'can-do' throughout.
Fortunately, although it is easy to reach the game's conclusion, it is far harder to 'complete' it. Jade's main source of income (government credits) is from a research organisation that requires her to take one photograph of every animal in Hillys. Completing this objective is a difficult task, as is exploring all of the secrets the world has to offer (hovercraft racing, a geometry disc-sliding mini-game, etc.). In this respect, the 'optional' difficulty provides for something other than a walk in the park - should you want it to be. Finding vantage points and zooming in on faraway creatures has a very pacifying effect (and mimics the appeal of Pokémon Snap, for example); in many ways it's a shame that Ubisoft felt the need to include normal combat in the game - because photography alone would have expanded the remit ('truth' being the greatest weapon of all), and truly distinguished it from its peers.
Beyond the genre mainstays, BG&E further delivers through its intuitive interface. Menu commands can be selected from a 'ring' via the analogue stick; instantly clicking and dragging items between characters within the menu (even sharing the health upgrades between Jade and her ally), or examining scanned items close-up by spooling them around. There are no interface complaints - if anything, the only technical problems would be the spongy camera that often gets stuck within tight corridors, the one or two hiccups that impede motion (possibly because the action is locked at 50Hz), the bug that forces you to remove all other controllers before Pad #1 will function, and the 'cinematic' screen ratio (ie. faux widescreen) which can reduce icons. Oh, and on one particularly devastating occasion, there was a logistical AI bug (and impassable barrier) that forced Gamestyle back to the start of its game. As ever, multiple save files should have prevented the occurrence; the whopping 55-slot memory card file might as well be utilised fully. These issues - together with the well-meaning but questionable 'stealth' elements that plague the latter dungeons - are but minor blemishes on an otherwise shining pearl.
So, is this the classic example of a 'sleeper' hit then? Perhaps Ubisoft's strategy of releasing a comparatively niche title amongst the Christmas glut was a bad move, but with any luck the resurgence of the game on Microsoft's and Nintendo's consoles will bring in enough revenue to fund a sequel - something the ending not only alludes to but practically begs to see happen.
Rating: 8 / 10
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