Now, I could write another whole article on the problems with the gameplay in those aspects of the game, particularly how incredibly nonintuitive the driving experience - which should come perfectly naturally for a character, like Cole, in his late 20s - seemed to me, causing me to get more and more frustrated with the car chases and eventually to take the game up on its skip-to-the-next-bit offers on most of them. As you go along, you move Cole around, find clues, pursue bad guys on foot and in your car, have the occasional fistfight or gun battle, and interrogate suspects and other people of interest. Noire, solving cases first as a beat cop, then at the Traffic Desk, moving on to Homicide, Vice, and Arson later on. So there you, the player, are, playing L.A. I don't think that's how it's actually supposed to be in the game, mind you - as it's certainly never stated to be the case - but I'll give it the benefit of the doubt. It would be nice to have the information conveyed by some of the later flashbacks earlier on in the game, but I'll give those a pass because they're war flashbacks, so maybe Cole had blocked some of them out and we're experiencing them as he recalls them. In between missions - er, cases - the player is treated to flashbacks of Cole's military training and his experiences leading up to and during the Battle of Okinawa. Noire, the player takes the role of Cole Phelps, a World War II vet who quickly rises through the ranks of the 1947 Los Angeles Police Department. Noire is not the only example of this kind of thing, but it's the one in which I first really noticed the problem, and so it earns the focus for this article. It's time that video game players stopped giving game makers a pass for playing tricks on them that they'd never put up with if the graphics weren't so cool, or if they were watching a movie of the game's story. Warning: This article contains spoilers for the video games L.A.
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