Every so often with consoles, you get a good game. Yes, in this world of hyperbole that mightn't seem like much of a compliment – we're all used to Best Games of one sort or another, which seem to always revolutionise gaming, break new planes of ground or establish the developer as the best there is. Beyond Good & Evil is not a revolutionary game by any stretch of imagination, nor will it inspire a colony of cheap rip-offs. If there wasn't a sequel coming, you probably wouldn't hear about it a year from now, and it is not a classic. But it is enjoyable, well-designed, light-hearted and good, honest fun. And really, that more than suffices.

 

Conspiracy theories:

Beyond Good & Evil's protagonist is a young reporter named Jade, who lives with her uncle, a pig named Pey'j. Their planet, Hillys, is under constant attack from a destructive alien force called the Dom'z. Their only form of defense against the invaders is the Alpha Section, a specialist branch of the Hillys army. But the motives of the Alpha Sections are under doubt as they seem to be doing less and less to protect the planet's inhabitants, while the so-called traitors of the IRIS Network are gaining a better reputation. Jade soon finds herself recruited by the IRIS Network and charged with the task of finding out what exactly is going on, and just whose side the Alpha Sections are fighting for. Meanwhile, Jade's true nature and relation to the Dom'z is gradually unraveled as she gets closer and closer to the truth.

While not wholly unpredictable, BGE's plot is surprisingly good. Although rather light-hearted in nature, it still allows for some heartfelt cutscenes, unafraid to inject a little emotional depth into your quest. Don't expect it to bring you to tears, but it keeps the pace of the game going well and culminates in a cliffhanger ending.

 

Variety is the spice of life:

The best thing about BGE is the variety in the gameplay. Developers can find this hard to pull off, nailing one gameplay style is hard enough after all, but BGE does it. One minute you'll be taking pictures of animals, the next you'll be hovercraft racing, then solving some puzzles, sneaking about an enemy base in stealth mode and indulging in a little fighting. The normal adventure viewpoint is ditched for a few sections which have you being chased into the camera, in a throwback to those classic scenes in older games. They're really great fun and get the blood pumping. It's almost like the game is apologising for the inane repetition most games have, and keeps the game fresh which is needed, as the individual gameplay styles are never fully exploited.

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There isn't a whole lot to the different styles; combat is just a matter of moving and hitting A, stealth involves only crouching, crawling and rolling and puzzles aren't the kind that'll keep you up all night. This helps their blending though, stopping you being weighed down by one particular area. Moving between them is nearly seamless and makes for an enjoyable gameplay mix. Something that definitely should be praised is the omission of any consequences of death in the game. When you lose allyour health, it only takes a quick slow-mo death scene and you're thrown back into the action. No delays or no trekking over treaded ground - honestly, when you playBGE you wonder why other developers don't do the same. It means the pace never slackens and the game stays smooth.

 

The best gameplay style has got to be those that require stealth, which you'll encounter a lot in the game. Unlike Solid Snake, you only have your camera to aid you - no acrobatics or cardboard boxes, but this arguably makes it more fun, and has you rely on things like mental planning and precise timing instead. Most sections have you killed if you're caught, which makes for some tense sneaking. The puzzles aren't too taxing, with most figured out with a couple of minutes of pondering, but equally, there aren't any illogical devils which hold up the game.

A character of its own:

One of the reasons BGE is such an entertaining game is the light-hearted bunch of characters that populate Hillys. Pey'j, your sidekick for the beginning of the game, is guaranteed to bring a smile. He's a cynical old pig, tough and brave, and regularly spouting grubby complaints about the Alpha Sections. Double H, who joins you later on, is a clumsy, rather dumb guy. The world of BGE is a world of Jamaican rhinos and publican cows; light-hearted and cheery, at times almost reminiscent of Rare's better exploits on the N64. A high compliment indeed.

 

Filmatic qualities:

Helping to express the game's character is a lovely graphical palette. Everything, from the characters to the environments to the interior areas, looks solid. There are practically zero noticeable visual flaws; it all looks tip-top. Particularly impressive are the vivid colours and particle effects, which strongly evoke the game's personality. Lighting and water effects deserve mention too. High production values apply not just to the graphics, but the music too. Emotional scenes are accompanied by gentle string symphonies, which pick up the pace for the more action-packed areas. The almost cinema-esque feel to the game is most evident when it goes bullet-time on the player for particularly dramatic moments. This might seem rather tacky on paper, but the game pulls it off quite well.

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Ubisoft at the wheel:

Although it mightn't look like it, BGE is a very linear game. It uses the Mammago garage, the source of your hovercraft add-ons, to gently herd you through your quest. You can only enter a certain area if you have a specific craft feature, which can only be purchased with a certain number of pearls, which you get from a specific place, which can only be accessed with a certain keycard, which...well, you get the idea. This isn't necessarily a bad thing though, as you're always aware of your place in the game.

 

There are few things more irritating than loose design in a game, which leaves you lost and confused, not knowing where you're supposed to be going and how to get there. BGE is the exact opposite of this, with simple goals and a succinct game world. Even if somehow you forget where you're supposed to be going, a quick chat to your sidekick will head you in the right direction. Something as simple as dungeon design is implemented wonderfully, guiding you to the right places and always providing a handy route out once the job is done. If you find yourself going through a rough and difficult area to get somewhere, you're probably going in the wrong direction.

The flipside to this, however, is that BGE ends up similar to Prince of Persia: Sands of Time. More than anything, the game is an experience. From beginning to end you'll be smiling like a madman, but once the final boss has been dispelled you will feel kind of empty, because, to be honest, that's pretty much it. The linearity of the game makes for an enjoyable experience first time around, but after that it isn't as appealing. There are no alternate routes through the game, or items to go back and collect. And since you already know the solution to the puzzles, there'll be no mental work needed. All that wouldn't be so bad if the game lasted a good distance, but, like Sands of Time again, it doesn't. It only took me 12 hours to complete the game, inept gaming skills and all.

 

Final Say:

After a few hours of playing Beyond Good & Evil, I was tempted to compare it to Philip Pullman's 'His Dark Materials' trilogy. They're both light-hearted but serious, both compelling, and both guaranteed to raise a grin of enjoyment. After a few more days play though, it became apparent that this was in breach of my anti-hyperbole aim, as BGE isn't as good as Pullman's stellar books. Ubisoft's game is hugely entertaining while it lasts, but lacks ambition when you want it most. You get the feeling sometimes they're saving the really good stuff for the sequel, just teasing us for the time being with a game that feels a lot like a trailer for its successor. But a damn good trailer, mind you.