Even though Warren Spector only shows off a brief gameplay clip, you can tell from the way he talks about
Epic Mickey that he's extremely passionate -- not just about the game, but about Mickey Mouse as a character. He shows off a not-seen-by-the-public-until-now memo between Walt Disney and an executive. He introduces sequences where Epic Mickey is inserted into classic Mickey Mouse cartoons. And he notes, \"I wrote my master's thesis on cartoons. This is a hidden part of my life until now.\" Spector starts his session with a quick video that seems taken right from the beginning of the game. Mickey peacefully sleeps in his own bed when he's suddenly whisked away to the Cartoon Wasteland. I can't verify for certain, but the way the mysterious villain appears out of nowhere, and said villain's utter lack of a distinct shape or structure, suggests that Phantom Blot is the fellow who grabs Mickey. The Blot drops Mickey onto an operating table of sorts, and starts performing a twisted, animated autopsy; Mickey frees himself in the nick of time from being carved apart by a cartoon buzzsaw, and that's where the game proper seems to begin.
If anything, the basic structure of Epic Mickey seems reminiscent of
Okami in that Mickey uses paint to restore a decrepit world. Spector describes The Cartoon Wasteland as the place where discarded characters, locations, and ideas reside; a limbo for the imperfect version of \"It's a Small World\" before the Imagineers settled on the final design that you can ride today. The Cartoon Wasteland has been rendered mostly inert, a dark, gloomy, and twisted version of itself. Restoring the Wasteland means converting it from \"inert\" to \"painted\" -- a transformation from doom and gloom into a \"bright, marshmallow-y world,\" in Spector's words. He outlines the basic story arc as, \"Act one: 'Where am I?' act two: 'Save the lands, save yourself,' and act three: The Phantom Blot unleashed.\" When I first heard about Epic Mickey, I had assumed that the forgotten character, Oswald the Lucky Rabbit, would be the primary villain. He's one of the first cartoons that Walt Disney worked on, and when Disney himself left Universal, Oswald was then doomed to obscurity under the Universal (not Disney) banner. There's a lot of resentment on Oswald's part; Spector shows off an old memo from Walt Disney to Universal Studios bigwig Carl Laemmle, where Mickey looks fine and dandy while Oswald scowls in bitterness. It's easy to think that Oswald, the \"older brother\" to Mickey, would be the primary catalyst. But Warren actually describes Oswald as more of \"the White Rabbit from
Alice in Wonderland.\" Oswald is someone that Mickey can help redeem; the real bad dude is Phantom Blot and the motley crew he's assembled (so far, the only other villain shown is
The Mad Doctor). Perhaps Oswald, with his \"lackey for evil with a glint of redemption\" motif, is the Darth Vader to Phantom Blot's Emperor.
(
Update: While chatting with Spector, he corrected me by stating, \"People seem to be getting the wrong impression about Oswald's role. I can safely say that the Phantom Blot is the ultimate villain. But Oswald is not subservient to the Phantom Blot; in fact, they're antagonists and have been at odds with each other for a long time.\")
But enough about the characters and the basic premise/plotline -- what about the game itself? Despite being, as Spector describes, a \"platform meets RPG/adventure\" (which differs from his previous titles, such as
Deus Ex,
System Shock, and
Ultimate Underworld, which were all first-person, action-RPGs), Epic Mickey still maintains some core principles that Spector brings to his games. The game will still feature elements of player choice, and furthermore, be about what the player makes of Mickey within the story framework described earlier. \"This is about making Mickey cool
to you.\"
Spector focuses more on the reinvention of Mickey, the idea of making him a cool character as opposed to a stiff icon, than he does on gameplay mechanics. He notes that \"painting\" is about creation while \"thinner\" is about destruction, and how you use the two will affect Mickey and others around him. Being helpful, creating a lot, and embarking on sidequests to help others, will make you a Hero Mickey. You'll shine bright and have many friends; Spector shows a segment where, because the player has Mickey help a Gremlin find some lost friends, those lost friends create a path to another part of the area that would not be accessible otherwise. Heck, a Hero Mickey might even decide to help a boss character, thus completing a boss encounter without violence.
On the flipside, if you're more of a \"gamer\" as Spector jokes, a determined player who uses the gameplay mechanics as tools to improve yourself and progress through the game without having to deal with others (example: is there a bookshelf in the way? Just use Thinner to erase and be done with it), then you're likely to play a Scrapper. A more rough-and-tumble Mickey that doesn't have nearly as many friends in his corner, but is more powerful than his Hero version. There's also a Neutral option (which is shown but briefly), but the core of it is that Spector, as in other projects he's worked on, wants to make sure you can progress through the game in the play-style that fits you.
It's extremely early, but from what Spector shows, I can see that Mickey moves and animates well. And yes, I do wish the visuals were a bit more HD-generation than what the Wii offers. Spector teases about other elements; he comments that \"the game is a linear story\" but doesn't offer more when asked about overall structure. When the Phantom Blot listens to Mickey's heart during the autopsy/examination, Spector slyly notes, \"hearts are important, but I won't say why.\" The video demonstrates a sidequest where Mickey is asked to find more parts for Ro-Donald (my informal name for the Donald Duck doppelganger that Oswald has constructed to serve as his friend in the Cartoon Wasteland), but it doesn't show much beyond mission acceptance. Spector points out that Sketches are a secondary mechanic, such as using a TV sketch to distract enemies while a stopwatch slows time, but won't say more. He also notes that you collect tickets for economy, but won't say more about that either. He won't even explain what it means when something is \"inert\" as opposed to \"painted.\" The game is still a fair ways off, and it'll be a while before I actually see how paint, thinner, mission, enemies, and all that work together. But hearing how Spector talks about the game, and the sheer passion he has for both this title and Mickey himself, is enough for me to give it a closer look when Spector's ready to show more.