The Prince can’t find his ass with both hands.
To be more specific, he’s looking for his donkey, Farah, and hasn’t been able to locate her. And
despite the Prince’s “Dude, Where’s My Car?” banter, it isn’t long
before Princess “Don’t Call Me Princess” Elika comes along as a bona
fide Daxter to his Jak. Or Clank to his Ratchet. I’m not sure which. But she serves as a foil to his frat boy yearnings and sitcom sense of comedic timing.
Give yourself an hour with
these two and you’ll stop rolling your eyes at the loquacious rhetoric,
instead embracing the growing warmth between their cold shoulders. The
Prince isn’t interested in disclosing his past, while Elika exhibits
textbook knowledge of the gods, magical and natural balance, and
geographical history. The Prince moves across
inhuman environments with fluency, tempered between times with a
workman's wit, while Elika comes in with the no-game-over-screen saves
if the Prince’s stellar parkour training stutters a bit.
Give yourself that same hour to acclimate to the Prince’s controls. I came for the artwork, but I’m staying for the momentum. Altair in Assassin’s Creed is not 100-percent comparable to the Prince after you’ve taken him through some trial and error. Ubisoft Montreal often equated Altair’s movements to that of a car: You held down a trigger and “steered” through the environments. That
equation seems fair enough, but I’d offer that Altair’s “car” was an
automatic – while the Prince’s vehicle is a stick shift. In Prince of Persia, deft but patient thumb presses are required to navigate. And
though his initial steps in any direction feel like they’re in
quicksand, the Prince dutifully leaps, wall-runs, ceiling-runs, slides,
climbs, and shimmies at a formidable pace.
It feels fantastic when you’re dialed in, using Elika’s magic to
enhance your jump across a cavern, then digging your claw into the
cliffside to slow your descent, springing towards the opposite wall and
coming to a two-point landing on a sand-dusted platform. It
also feels fantastic when you wall-run along a chasm lost in darkness,
grip a wall-ring to extend your wall-run further, skitter across a
patch of ivy to reach some horizontal wood railing, then run along the
ceiling to a nearby vertical post.
But strangely enough, as fantastic as those moments are the first time through, they get even better on a repeat run. This time, armed with the slightest bit of foreknowledge as to what obstacles approach, the parkour gets tighter, your movements more calculated, and Elika comes to your rescue far less often.
I was, admittedly, quite intimidated before I picked up Prince of Persia today. I went into it knowing that I may very well not possess the hand-eye coordination to make this a valuable purchase for me. And after playing the demo of – and being severely discouraged by – the fall-and-fall-again Mirror’s Edge, I thought that the Prince was also here to kick ass and chew bubble gum. Thankfully, the Prince didn’t run out of bubble gum.
With frequent breaths to take between acrobatics, there’s also plenty of time and space between sword fights. They
operate on a set of timed combos; and while I’m too lazy to learn the
myriad combos already available to me (Normal combos, Elika combos,
Lift combos, Acrobatic combos, Throw combos and Aerial combos) the
early stages patiently taught me one or two that have served me well in
the one-on-one combat. I can get lazy quickly when that many combos are at my disposal – there’s something to be said for Fable 2’s
one-button combat, to be sure – but the fights are so beautifully
animated that I’m starting to sneak peeks at that combo list again,
hoping one or two more will sink in.
The only moment of confusion I had was in the open-world but not-quite-open-world map. Paths spoke out in four directions from a central hub, and given the
advice to essentially “go wherever you want to go” I went entirely too
far in one direction right off the bat. Prince of Persia wanted me to taste each direction, get a little bit of each level’s spice on the tip of my tongue: Not charge whole-hog in one direction with a completist attitude driving my compass. I wanted to sweep the map from one end to the other, west to east, no fog of war left defogged. But that strategy won't work. And
Elika, along with her little magical “follow me!” comet that leads the
way (when asked) to objectives, won’t automatically turn you around. I was simply told “pick another destination” on the branching map, when in fact only 4 of the 24 other destinations were honestly viable.
But the journey is still young, and though there are imminent
fast-travel options back to already-visited locations, I’m enjoying the
journey as much as the destination. Clearing the
land of a black corruption unleashed by a dark god – since the good god
is pretty much on vacation–
makes for thirsty work with plenty of free-running left to do. And when it comes to companionship, even though I can’t play a Fable 2 game of fetch with Elika (or emote with her in any other way), it’s great to be splitting the mileage along with a driving partner.