PICKING EVERY FIGHT IN MIRROR’S EDGE PART II
There’s a decommissioned nuclear bunker just outside York where the walls are painted in calming tones – designed to help its occupants keep their heads as they carried out essential logistics in the days and weeks after a hypothetical strike.
It seems like wishful thinking to hope that a nice shade of paint might make the difference against the weight of the world’s end. Then again, colour associations are strong and laden with meaning. When I think of Mirror’s Edge, I tend to remember the gleaming whites and deep blues – the aspects of its palette I associate with serenity and freedom under an open sky. Now that I’m playing through it again as a killer, I’m noticing a whole other part of the colour wheel – the angry oranges and block reds that kick in with greater frequency as I punch my way through to the middle of the campaign.
POWER IN THE CITY IS SHIFTING, AND FAITH’S OUTSIDER STATUS IS IN FLUX
As Faith, I’m a runner who lives in the gaps left by The City’s surveillance society, making highways of its roofspaces and maintenance shafts.
