I don’t often dribble about unreleased games here, except when they’re by Valve or a cool part of them has just been released or I’ve played them and can’t tell you anything useful. But I am in love with Mirror’s Edge.

The first trailer is a thing of wordless and tinglingly scored beauty. The DICE team have shown only hints of this artistic muscle before – both of the last Battlefield games were crisply depicted, but even 2142 only had a few properly striking scenes. Mirror’s Edge is fearlessly clear in its art direction, dazzingly stark and bleach-clean throughout. Like only the best oppressive dystopias, I want to live there.

It makes me laugh, and then feel sad, when people say that Gears of War 2 looks good. It looks like an ashtray.

GameTrailers did an uncharacteristically excellent recut of that first footage, halting to extrapolate the implications of every detail shown. I hope they eventually do the same for the new Leap of Faith footage (which isn’t the same as the stuff shown in the developer talkthrough).

Together, the three suggest an energetically tactile, flexible and powerful mode of movement. I love, love the notion of being able to cling onto something, then look freely around behind me and leap in the direction of my choice. It’s the antithesis of the hopelessly vague dictionary of airy, hands-free movement verbs we have access to in every other first-person game.

All three show combat in some form, and for the most part I really like the quick, linked series of light blows you can use to disarm or incapacitate people. But I don’t see how you get to them. In the demos, the player simply lets herself get shot to hell – they’ve got God mode on, so it has no effect, but it raises a pretty big question.

My answer to it, which they clearly haven’t gone for, would be a system of automatically triggered bullet-time. For the most part, you’re dashing around in real-time and bullets ping around you – your enemies should have Stormtrooper Aiming Syndrome, of course.

But whenever a bullet is fired that’s on track to hit you, extreme slow-mo is activated and a line of air-ripples shows the path the bullet is on. The more accurate the shot, and the closer the range, the further you’ve got to move your body in the shorter the space of time. Realtime resumes the second you’ve moved yourself out of danger.

It would be redundant to argue that the game would be better off without a plot; no-one could put that argument more eloquently or forcefully than the first trailer itself – especially in light of the groan-worthy second. Look at her:

She doesn’t have a sister. She’s too cool to be born.