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This is our first attempt at questioning an individual. The transition to suddenly interrogating someone is very slick and soon Phelps and Galloway are ready to begin. Ms Lapenti is the landlady of the house and we're hoping she can help with our enquiries. After the Ms. Lapenti finishes her chatter, a set of three options appear - Truth, Doubt and Lie. This is where that MotionScan comes into its own. You've all seen those signs of lying - whether it's a mate who giggles when you inquire whether he's just farted or asking your partner if they know why your favourite white t-shirt is now a pale pink after a washing mishap - the signals are all here in the characters faces and Ms Lapenti looks a little worried here.
We press Doubt when she says she doesn't know where Antonia was on the night of her death. She soon 'fesses up that she might have been at the El Dorado Bar. Ms Lapenti doesn't appear to be lying when she mentions that her awful husband, Angel, might have had something to do with it too, so we Believe her. But it's not always clear cut as we find out when we accuse her of lying about whether she knows more about the night of her death. Pah! So close to perfection. But at least we have enough evidence to follow a lead on the victim's husband.
Cole and Galloway head to the El Dorado Bar where Antonia went that fateful night. The bartender explains that she was drunk and was yelling about how she was going to divorce her husband. The bartender also said how he advised Antonia to get a cab home and pointed her to the Just Picked Fruit market across the street, where she could call one from their phone.
In the market they meet Clem Feeney, the man who Angel said fancied his now murdered wife. He's uneasy about us snooping around - and with good reason. After booting open a locked door they poke around and find bottles of booze in crates, a bloodied scalpel and a jewellery box belonging to Mrs Maldonado. Clem legs it, hops into a car and a chase ensues.
Above: Chase sequences are a frantic affair as the perps try to throw you off by ducking down tight alleyways
It's a classic GTA-style chase across the city, with Galloway instructing you to get closer so he can shoot out the tyres of the escaping car. It doesn't last very long, because either a) the car slowed on purpose or b) we're instantly amazing at driving in L.A. Noire but we attempt a T-stop and manage to flip Clem's motor. He's put in cuffs, and sent off to the police station and that's where our demo ends.
The Rockstar PRs are then keen to explain that all may not be as it seems, which we're kind of thrilled about seeing as though Clem suddenly being the murderer felt too abrupt. What connection could he have with the murders, if he isn't the one doing them? Does he know who the Black Dahlia killer is? Why didn't he just ditch the incriminating evidence far from his store, the fool?
On the whole, L.A. Noire is a breath of fresh air in this FPS filled world, and finally getting to grips with the game has heightened our anticipation for the game even more. We're hoping that there will be enough variety throughout the story to keep things ticking along nicely, and that the game won't just devolve into talky bit, drivey bit, punchy bit, case closed formula too much. But for now, Team Bondi and Rockstar seem to be onto a winner with this crime-thriller.
March 1st 2011