Back by PoPular demand...
The Prince of Persia: Sands of Time Trilogy was a high point of the previous console
generation. The original game in particular was a masterwork, with unparalleled acrobatic
animation, a wonderful time-rewinding hook, and level design so good that it made each room
seem like a big platforming puzzle. This Prince of Persia, however, is a new character for
a new era. The question is, can he recapture the magic of past PoP titles?
Artistry in motion
First impressions are favourable. Next-gen Prince of Persia features a distinct visual
style that gives it the feeling of a moving painting. Coupled with improved animation it
soon seems like you're in for another artistically astounding and silky-smooth platforming
epic.
It soon seems like you're in for another artistically astounding and
silky-smooth platforming epic.
Having said that, the visuals have proved divisive here at GAME HQ. Some people love 'em, while others seem underwhelmed. Whichever camp you're in, it definitely takes some
getting used to – perhaps because it's so unusual to see realistic looking characters with
a cartoon-style black outline and flat, stark primary colours. Curiously western in its art
direction but utilising the cel shading technique prevalent in uber Japanese games like
Okami, its an odd clash of cultures – though that's perhaps not surprising, considering
that it's from the same publisher which gave us Red Steel.
What's undeniable is the sheer awe-inspiring scale of the Prince's new world. Prince of
Persia on Xbox 360, PS3 and PC is the first in the franchise to have a hub structure;
letting you choose to tackle any of the four significant areas in any order.
Move it
Once you're there, though, the illusion of a large, open world quickly gives way to
typically high-flying straightforward Prince of Persia platform antics. Thankfully, the
Prince moves like a dream – he leaps, springs and swings responsively, wall-runs
automatically, and features some ceiling scampering hand-over-hand moves that his Sands of
Time counterpart would envy, as well as the ability to slide down sheer cliff faces courtesy
of his spiked gauntlet.
The best bit, though, is that this Prince of Persia can't die – if you fall off a ledge,
his magical companion Elika will reach out a hand and drop you back to the safety of the
last ledge you leapt from. It's a brave decision in-keeping with recent trends; together
with Fable II, Prince of Persia is blazing a trail for games to be empowering, without
being punishing.
What we have here is platforming for the Assassin's Creed
generation.
The combat in Prince of Persia shares this ideology. Gone are the days of slow-mo
slashing multiple enemies for fun – this Prince of Persia will fight only one foe at a
time, with tactically paced lock-on combat reminiscent of Assassin's Creed. Fortunately,
it's a little more in-depth; sword attacks, gauntlet strikes, leaping vaults and Elika's
magical moves are each mapped to a different fascia button, while occasional QTEs add to
the cinematic value. Lose enough life, meanwhile, and Elika will again rescue you – at the
cost of allowing the enemy to regenerate a fraction of health.
With platforming and fighting out of the way, the last key gameplay component left is
based around Elika's magical abilities. These can trigger one of four coloured magical
pads, which let you travel great distances to the next pad in the sequence. The problem is,
these sections aren't always well designed, with long NiGHTS-style flying parts in
particular proving frustrating. You still can't die, but one false move and you'll be
placed back at the start to suffer it all over again. Not so fun.
Rinse and repeat
The big problem with Prince of Persia then, is that for all of the astounding scope and
empowering ideas it has, the execution ends up lacking in imagination. The first few hours
are full of genuinely pleasing platform play, but after you've climbed to the top of a few
towers, had a few fights, finished off the first of the (admittedly memorable) bosses,
restored fertility to that part of the world and leaped, slid and swung around collecting
orbs, you realise that the rest of the game rinses and repeats this structure until you've
finished. And it's all far more forgiving, than Sands of Time ever was; with less precise
timing required on your jumps, and a main character who, despite his affecting bond with
Elika, proves far too cocky for players to really care for.
What we have here is platforming for the Assassin's Creed generation which will divide
opinion in much the same way. If you're looking for a deep, imaginative and diverse
platformer, then Mario Galaxy and Sands of Time should still be your first ports of call.
If, however, you want a sprawling, acrobatic and forgivingly playable eastern adventure
within a gorgeous looking gameworld, then this fresh, wisecracking Prince of Persia could
well be the one.
GAME's Verdict
- Enjoyably empowering platform play that's never punishing.
- A wonderfully vibrant watercolour world with an astounding sense of scale and
scope.
- The gameplay interaction between the Prince and Elika is seamles and really quite
special.
- The fact that you can't die removes a certain degree of urgency and peril to the
platforming.
- The game structure can get repetitive and levels lack a little imagination.
- The Prince is a cocky, wisecracking kind of guy who's easy to dislike.
Review by: Mark 'Scimitar' Scott
Version Tested: Xbox 360
Review Published: 12.12.08