"When it’s just you, the rooftops and Faith’s slim repertoire of jumps, shimmies, slides and rolls, it’s something like the urban Tarzan game we all hoped Mirror’s Edge would be. Time Trial mode rewards practice and it rewards perseverance, and it’s the only reason to buy Mirror’s Edge." An interesting take on Mirror's Edge, which has a lot of truth in it.

"In one moment the game had broken the tacit agreement between us. It had failed to respect my character decisions, it had made a pretense of allowing me to define whether Faith violent or not only to pull the rug away at the vital moment and strip all control from me. It lied. Any actions I might have taken to avoid combat up to then were for nothing. It had failed to show me respect so had lost mine." Breaking the unwritten contract with the player is definitely a bad thing, and I didn't notice this - but only because I'd not been aiming for the "no kills" achievement.

"Mirror's Edge is not a perfect game, perhaps, but it is something more important: it is an interesting game. It can be played and experienced on its own terms, for its own sake, if players would only allow themselves to take a single videogame specimen at face value rather than as yet another data point on the endless trudge toward realistic perfection." Ian Bogost taking a considered approach to Mirror's Edge.

"The obstacles that exist are mere impediments to my motion, puzzles placed only to slow me down or stop my free-flow kinetic improvisation. No time to think or overanylize, only time enough to move. This is what the essence of gaming should feel like: a sincere, wholehearted attachment to the action (or actions) that one sets into play. It is a moment where the motivation at hand is intention only, whose aim is exploration and discovery, refined. It is the escape, distilled and realized." GWJ on Mirror's Edge, and never rewinding, never looking back.

"When the mechanics are broken there - no matter what great ingredients or designs you had - the dish disappoints. Execution is very much part of the analysis there - as is service, mis-en-scene. Food is never evluated (in the Guide Micheline sense) out of context… but the mechanics are fundamental to everything else." Robin Hunicke on another parallel to games criticism; I think she might be onto something, and it's another good contribution to the mound of Mirrors' Edge coverage.

"The 'better sequel' mentality is damaging both to the games industry and to the quality of games journalism. It is a deferral of critical responsibility, a patronising pat on the head for the developer who dared to dream and fell short in some mythically vital way. I don't want to be frustrated by dodgy controls either, but then I'm willing to blunder through if I'm going to get an experience I never had before." And this is why I've been sticking with it; I think Keith is on the right lines with this quotation.

"A man can only eat so many cheap sniper shots, so many deaths by machine gun from over 75 meters away, so many attempts at a final tricky jump to a tiny ledge across a giant gap, so many degrading restarts... Sometimes I hate games so very much." Sadly, much of this is pretty true.

Clive Thompson on how Mirror's Edge "hacks" your proprioception: "it explains, I think, why Mirror's Edge is so curiously likely to produce motion sickness. The game is not merely graphically realistic; it's neurologically realistic."

"At the start it seemed reasonable to think that Mirror's Edge could stand entirely on the merits of its brilliant core concept, and not need to include extraneous and negligibly attractive features to appeal to as many people as possible. But, no, this is the video game business." This is the stuff that's scaring me most about Mirror's Edge.

Mirror's Edge 2D flash game - which look, by all accounts, to be an official spin-off. Can't wait to see the full version; it's a very impressive little game.

It's something a bit like the first 2-3 minutes of Mirror's Edge. But in LittleBigPlanet. People are great.