LA Noire ending *complete spoilers* - PlayStation Nation - GameSpot
Controversial in its day, L.A Noire's ending is perfect when viewed in It is more accurately “a noir movie where you are not the hero.”. Because the makers of the film were able to build a connection between You do not feel that way about Cole Phelps at the end of LA Noire. . The narrative structure and pacing is a mess, but the gameplay is a lot of fun. Elsa Lichtmann is a central character in L.A. Noire. Elsa was then confronted by Cole due to his indirect relationship with Jack, with Cole in part expressing.
Following our "this was done better somewhere else" format, let's take a look at Red Dead Redemption, another Rock Star game. It was a shame to see John Marston die, and that was because we knew how happy he was. If John would have died before reuniting with his family, it wouldn't have been as sad. Instead he spends the whole game talking about his family, and then he returns to them, a free man.
You play a handful of slow missions that show John working around his farm and attempting to mend his rocky relationship with his son. Then, in a cruel twist, John is gunned down by the men that put him in the initial predicament.
He's not mauled by a bear or swept off a cliff in a rockslide, he's shot dead, and as the player, you're there squeezing his trigger finger as he dies. It's a tough pill to swallow, and when you take control of his son and find that secret mission that lets you track and kill the man responsible for John's murder, it's mostly satisfying.
Close, so close What's frustrating in LA Noire is that you can see what the developers were trying to do, and you can see where they messed up.
Cole is a troubled man; a war "hero" that doesn't deserve the accolades. He made some huge mistakes and got rewarded for them, and now he's trying to live up to the heroic image he accidentally created. You don't get a sense that this bothers Cole until the very end of the game.
The vague flashbacks show you some of the things he did that obviously scarred him, but the important ones are all stacked at the end of the game, after he has an affair. Had we seen some of that stuff early on, we might have understood why he fumbled the ball and screwed up his marriage.
The final nail in the coffin is the late game switch to Jack Kelso, a private investigator that served with Cole in the war. Cole and Jack weren't friends, but as Jack says at Cole's funeral, they weren't enemies either. Jack is far better developed as a character than Cole. We see him get into some trouble early in the game, and we know that he had issues with Cole's leadership abilities in the war.
We also see that he's a morally upright man that does his best to do what's right, even when there doesn't really seem to be a "right" option. Playing as Jack is great because you feel like you can really get behind him--you understand his motivations. When he finally meets up with Cole and the two agree to work together, it's Jack that starts to clear things up. He gives Cole a talk about bravery and courage that shines a light on the source of their friction, and Cole's personal struggle.
It's at this point that I finally started feeling for Cole.
LA Noire: the interview
I was still a little mad about how sloppily his character was developed up until that point, but at least I understood him more.
This would have been an excellent point to turn control back over to Cole. You should have finished the last few missions with him, not with Jack. We should have played as Cole. We should have seen him break the rules he lived and worked by in order to save Elsa and stop the bad guy.
The game sets you up for that--as Cole you help keep crooked cops off Jack's tail on his way to the sewers--but then takes it away. In the final sequence, after the car chase, Jack and Cole meet up at the sewers to get to the bad guy. The two split up and instead of following Cole, the game drops you in Jack's shoes and puts you through a series of bland firefights with non-descript thugs that have no reason to be there.
The Call of Duty-like mission is bad enough, why do you have to play it as Jack? He served his purpose--he showed us who Cole was.
You should have played as Cole during that last bit. He should have been the one to gun down all those guys to get to Elsa. It would have made the final scene, where Jack talks him down from killing the guy that took Elsa, hit so much harder. Who were those guys? Or was that something that had happened to him before? I guess it works either way. But was Suger Loaf the episode with killing the Japanese in the caves? And also more about his relationship with Elsa?
I also feel like Elsa was sadly underdeveloped. What a great character she could have been. Instead, she gets dropped into a thankless damsel-in-distress at the end. How can you make a German expatriate junkie lounge singer uninteresting? The game itself is a stale meatloaf of previous Rockstar dishes, and honestly got in the way.
The thread for people who've finished LA Noire - Games - Quarter To Three Forums
Now to your questions Tom: Thugs in Sewers - I think it was implied that those were all the crooked cops that the Chief brought in when it was obvious their scam was over and the Assistant D. Followed by the Chief and the Assistant D. Honestly, I think it was their way of having a shoot-out akin to the classic L. Revealing just how deep the corruption goes.
They get to Okinawa, Phelps builds agnst against the men for his pro-japan, oil comments, Kelso keeps them from retaliating. Results in becoming even more mechanical, cleaning out caves even past their lines, gets men killed, everyone hates him. At this point, I think he gets sent home as the war-hero in 45, and Kelso and the Sixth stay until 46, which explains how Cole joined L.
The wife and kids are talked about maybe twice the whole game, and they really do a poor job explaining why Cole strays. It kept feeling like they had such stronger plans for Elsa but instead focused on her being some form of relationship bridge between Roy, Fontaine and the Highway scam. Part of the game is to catch people, to have the evidence available so that you can accuse them when they're lying. It's about keeping track of the story, the whole performance, rather than necessarily looking for an "answer".
LA Noire In many ways, then, the game requires a whole new set of skills from gamers. Is it nerve-racking or exciting to be making those demands? It's a little bit of both and as of this moment, it is still unproven. We've yet to see if people are going to attach themselves to it. At Rockstar, we're always trying to push the medium. If games are only going to be about shooting things, dying and starting over, that's a pretty boring future for us.
So here's an opportunity where we thought, how can we make having a conversation be the focus of the gameplay? It's been sort of the holy grail for a long time and the technology wasn't there to approach it in this manner.
Obviously, there have been a million talking heads in video games — games like Mass Effect do an amazing job, the guys at BioWare really know how to work conversation systems.
But we wanted to take it a step futher and actually have that human element that can be missing from those games; the ability to see a performance rather than a puppet on screen. It certainly seems designers are now realising that games can be about human drama There's no reason why you can't have the same sorts of relationships — whether they're about fear, hate or love — with a game character that you can with a film character. That's one of the freedoms that technology gives you.
Even though the structure of the game is revolutionary for this industry, it's based on the tried and true formula of cop shows that have been around for years on television. There's an element people will be familiar with, whether you're a hardcore gamer or not: But do you think an emerging interest in human drama will gradually change the way games are developed? When you're making games this big and so frigging complicated you have to have a good director and good writers, you have to have designers who are willing to take chances on creating new gameplay mechanics.
Something has to change, that's the only way of raising the bar.
How do you feel about L.A Noire's ending? (Major Spoilers) : Games
We're taking lessons from Red Dead, which took lessons from GTA, we're obviously evolving how these games are made. How about story-telling — have you brought in scriptwriters from Hollywood or TV?
I just wrote it myself, like I normally do! No, as much as I'd like to compare myself to Kubrick or Hitchcock, most parts of a game are super collaborative. I might come up with a plot for a case, but the first thing we'll do before I write a word of dialogue is sit down with the game designers and work out where the holes are; where it would work and where it wouldn't in a game. If you meet this person here, and then you talk to someone else, but don't find this clue … you learn a lot from that process.
With video games, whether they're as big as this one or not, you have to be in an office for three or four years with game developers. If you want to wander around in jodhpurs with a bullhorn, it's probably not going to work.
How are the likes of Kinect going to help evolve human dramas? This whole idea of controller-free input must open a few new doors?
- LA Noire ending *complete spoilers*
Definitely, and to some extent we're exploring that in this game — we put a person in front of you and ask, "do you believe them or not? The controller definitely stops you broadening the audience. I love the Kinect, we play it in our household. It's evolving, it's trying to find its place — is someone going to make the killer app for it? And for us, if the best way to get our vision across is motion control we'll use it. But that all came along during the development of LA Noire and we didn't want to shoehorn it in.
Absolutely, and we're flirting with that in this game — there are cases when you never draw a gun or chase a criminal. It's something that's going to happen sooner than later.