In general terms, I find myself opposed to the divulgence of spoilers of any story-based media. Sometimes it doesn't seem as though foreknowledge of a piece of plot will significantly impact a subsequent encounter with the overall product – and to be fair, many details are ultimately inconsequential – but it only takes that one critical element to 'spoil' the experience. This is a phenomenon I more often find in association with video games than other forms of media – that is to say, I more often find myself writing off as a bust when spoiled key elements of a potential narrative experience in the case of games than, say, films. I have to suppose this is owed to the interactivity inherent to video games as a narrative medium: as opposed to other forms of media, where the audience is merely absorbing the story and perhaps reassembling it in their minds, there is a degree of personal involvement in video games that, when the story is what drives the player to continue along, invests the player into the narrative in ways more passive mediums do not. When the narrative then skips a step in the mind of the player, that dissonance undermines the whole nature of the interactivity of the story, ruining the experience all the faster.
Prince of Persia: The Sands of Time Remake. Critically acclaimed Prince of Persia: The Sands of Time is back! Remade for the first time by Ubisoft, relive this legendary tale, or discover it new for the first time. Embark on a journey as the Prince to save your kingdom from the. Jan 29, 2009 Prince of Persia. Set directly after the events of the main narrative, the 'Epilogue' DLC expands the acrobatic protagonist's playground, as well as his magical companion's repertoire of powers.
It is with this in mind that I cautiously announce my intention to spoil the ending of the main Prince of Persia game as a result of this review of the Epilogue DLC: I simply cannot fathom any other way to address what needs to be addressed here. Spoilers be found yonder, for all ye who have a care.
One may say what one will about the characterization of the cast of the main game, but at least the narrative taken as a whole is complete. It begins by setting up a foe to overcome (the re-imprisonment of the dark god Ahriman), rises with the gradual building up of power against the foe (purifying sacred lands and eliminating Ahriman's corrupted minions), climaxes with the conquest of the foe (sealing away Ahriman, with the protagonist's NPC side-kick sacrificing herself in the process), and concludes with the protagonist ultimately undoing everything he has spent the rest of the game striving towards (releasing Ahriman in exchange for the resurrection of his companion). While this final turn from the norm may not have had an impact upon me that I could rank as being a particularly great or moving conclusion (due in large part to being unable to truly connect with the characters, as previously described), I let the final credits scroll content with the finality of the story: it may have been decent at best, but it was okay at worst. Such was my contentment with the experience (and its accompanying gameplay) that I felt compelled to seek out the Epilogue to continue this experience. It is truly disappointing that the Epilogue manages to do everything a single-player DLC add-on should not: taking cherished mechanics and concepts from the main game and mashing them together inexpertly to make for a mechanically tedious experience, while at the same time providing a narrative experience that proves not only inferior to the original but ultimately damaging to the overall narrative of the product taken holistically.
The Epilogue picks up where the main story ostensibly left off: with the Prince wandering into the desert carrying his recently-revived companion Eliza. But where the main game ended with the Prince solemnly soldiering forth as Ahriman escapes into the world overhead, the Epilogue begins with the Prince being actively hunted by the dark deity, changing the original conclusion from a counter-climactic dilemma of the needs of the one winning out over the needs of the many into an act of sheer idiocy: instead of just Eliza being dead, they are both in imminent danger of death by a supernatural force in addition to having unleashed malevolent horrors upon the world.
In any case, once gameplay begins proper, play proceeds mechanically much the same way as before: the player guides the Prince parkour-style across a dungeon of improbable perch-points, corruption hazards, and sword duels. Structurally, however, the experience loses a great deal of the lustre from the original. First, the DLC takes place across a linear series of rooms to be progressed through methodically, with no returning to earlier areas (as opposed to the main game, which allowed the player essentially free reign to roam at his or her leisure). While this is not necessarily a deal-breaker in and of itself, it does limit the enjoyment of the platforming to the level of competency of the levels as designed and presented. Armour of god tamil dubbed. …Which, unfortunately, does not bode well for the DLC, since only the occasional location provided moments of interest and engagement; and while the addition of some new platforming features attempts to spice things up a bit (including ghostly walls that disappear if left alone for too long and a new power plate which is essentially indistinguishable from the red slingshot plates), the demerits of a dodgy camera that often leaves the player guessing as to which direction he or she should be leaping next in situations where such a choice is a split-second decision between progress or falling death take whatever gains these partial innovations represent.
The second structural screw-up is in the combat. Combat in the main game was not intrinsically unenjoyable, it seemed to recognize that combat was not its strong suit and accordingly spaced combat encounters amidst significant sequences of platforming in between to soften the blow and placed each encounter in arenas which provided for different tactical options. The designers of the DLC must not have been operating off the same design philosophy, since half my total playtime was spent engaged in battle, slogging through encounter after encounter. In addition to a number of shadow-mooks spawning in fairly dense clusters, Ahriman sends multiple shape-shifting corruption creatures at the player, which necessitate the defeat of multiple forms in each battle, wherein the only terms for defeat is 'knock enemy off cliff'. Perhaps even more frustrating than seeing one of those as a 'reward' for completing a platforming section is having Elika's father pop up for a battle, all but blindsiding the player each time. As opposed to the main game, where combat occurred at a pace essentially determined by the player (usually whenever the player had explored enough and wanted to beat the next boss to unlock new areas), in the straight run of the DLC one ends up running into a foe every ten minutes and growing swiftly tired of the experience. The addition of another aspect of combat – an opening charge quick-time event maneouvre – once again attempts to add some spice to the formula, but so much combat in such a condensed space drains away whatever enjoyment one can derive from the meager platforming portions.
Prince Of Persia Ps3 Walkthrough
In general terms, I find myself opposed to the divulgence of spoilers of any story-based media. Sometimes it doesn't seem as though foreknowledge of a piece of plot will significantly impact a subsequent encounter with the overall product – and to be fair, many details are ultimately inconsequential – but it only takes that one critical element to 'spoil' the experience. This is a phenomenon I more often find in association with video games than other forms of media – that is to say, I more often find myself writing off as a bust when spoiled key elements of a potential narrative experience in the case of games than, say, films. I have to suppose this is owed to the interactivity inherent to video games as a narrative medium: as opposed to other forms of media, where the audience is merely absorbing the story and perhaps reassembling it in their minds, there is a degree of personal involvement in video games that, when the story is what drives the player to continue along, invests the player into the narrative in ways more passive mediums do not. When the narrative then skips a step in the mind of the player, that dissonance undermines the whole nature of the interactivity of the story, ruining the experience all the faster.
Prince of Persia: The Sands of Time Remake. Critically acclaimed Prince of Persia: The Sands of Time is back! Remade for the first time by Ubisoft, relive this legendary tale, or discover it new for the first time. Embark on a journey as the Prince to save your kingdom from the. Jan 29, 2009 Prince of Persia. Set directly after the events of the main narrative, the 'Epilogue' DLC expands the acrobatic protagonist's playground, as well as his magical companion's repertoire of powers.
It is with this in mind that I cautiously announce my intention to spoil the ending of the main Prince of Persia game as a result of this review of the Epilogue DLC: I simply cannot fathom any other way to address what needs to be addressed here. Spoilers be found yonder, for all ye who have a care.
One may say what one will about the characterization of the cast of the main game, but at least the narrative taken as a whole is complete. It begins by setting up a foe to overcome (the re-imprisonment of the dark god Ahriman), rises with the gradual building up of power against the foe (purifying sacred lands and eliminating Ahriman's corrupted minions), climaxes with the conquest of the foe (sealing away Ahriman, with the protagonist's NPC side-kick sacrificing herself in the process), and concludes with the protagonist ultimately undoing everything he has spent the rest of the game striving towards (releasing Ahriman in exchange for the resurrection of his companion). While this final turn from the norm may not have had an impact upon me that I could rank as being a particularly great or moving conclusion (due in large part to being unable to truly connect with the characters, as previously described), I let the final credits scroll content with the finality of the story: it may have been decent at best, but it was okay at worst. Such was my contentment with the experience (and its accompanying gameplay) that I felt compelled to seek out the Epilogue to continue this experience. It is truly disappointing that the Epilogue manages to do everything a single-player DLC add-on should not: taking cherished mechanics and concepts from the main game and mashing them together inexpertly to make for a mechanically tedious experience, while at the same time providing a narrative experience that proves not only inferior to the original but ultimately damaging to the overall narrative of the product taken holistically.
The Epilogue picks up where the main story ostensibly left off: with the Prince wandering into the desert carrying his recently-revived companion Eliza. But where the main game ended with the Prince solemnly soldiering forth as Ahriman escapes into the world overhead, the Epilogue begins with the Prince being actively hunted by the dark deity, changing the original conclusion from a counter-climactic dilemma of the needs of the one winning out over the needs of the many into an act of sheer idiocy: instead of just Eliza being dead, they are both in imminent danger of death by a supernatural force in addition to having unleashed malevolent horrors upon the world.
In any case, once gameplay begins proper, play proceeds mechanically much the same way as before: the player guides the Prince parkour-style across a dungeon of improbable perch-points, corruption hazards, and sword duels. Structurally, however, the experience loses a great deal of the lustre from the original. First, the DLC takes place across a linear series of rooms to be progressed through methodically, with no returning to earlier areas (as opposed to the main game, which allowed the player essentially free reign to roam at his or her leisure). While this is not necessarily a deal-breaker in and of itself, it does limit the enjoyment of the platforming to the level of competency of the levels as designed and presented. Armour of god tamil dubbed. …Which, unfortunately, does not bode well for the DLC, since only the occasional location provided moments of interest and engagement; and while the addition of some new platforming features attempts to spice things up a bit (including ghostly walls that disappear if left alone for too long and a new power plate which is essentially indistinguishable from the red slingshot plates), the demerits of a dodgy camera that often leaves the player guessing as to which direction he or she should be leaping next in situations where such a choice is a split-second decision between progress or falling death take whatever gains these partial innovations represent.
The second structural screw-up is in the combat. Combat in the main game was not intrinsically unenjoyable, it seemed to recognize that combat was not its strong suit and accordingly spaced combat encounters amidst significant sequences of platforming in between to soften the blow and placed each encounter in arenas which provided for different tactical options. The designers of the DLC must not have been operating off the same design philosophy, since half my total playtime was spent engaged in battle, slogging through encounter after encounter. In addition to a number of shadow-mooks spawning in fairly dense clusters, Ahriman sends multiple shape-shifting corruption creatures at the player, which necessitate the defeat of multiple forms in each battle, wherein the only terms for defeat is 'knock enemy off cliff'. Perhaps even more frustrating than seeing one of those as a 'reward' for completing a platforming section is having Elika's father pop up for a battle, all but blindsiding the player each time. As opposed to the main game, where combat occurred at a pace essentially determined by the player (usually whenever the player had explored enough and wanted to beat the next boss to unlock new areas), in the straight run of the DLC one ends up running into a foe every ten minutes and growing swiftly tired of the experience. The addition of another aspect of combat – an opening charge quick-time event maneouvre – once again attempts to add some spice to the formula, but so much combat in such a condensed space drains away whatever enjoyment one can derive from the meager platforming portions.
Prince Of Persia Ps3 Walkthrough
In terms of character interactions, things improve slightly due to the altered structure of the DLC compared to the main release: the pack itself is quite short (easily beatable between one and two hours) and linear, which allows for dialogue to be structured in such a way that the writers can progress the interpersonal narrative without fear of presenting conversations to the player out-of-order. However, the actual content of the dialogue, even when given the opportunity to progress in the way a standard linear narrative affords, ranges from expected to trite: Elika and the Prince constantly argue upon the merits of the reversal of the Princess' sacrifice (expected), while Elika's father taunts the characters as the 'mouth of Ahriman' with smatterings from the Scary-Bad-Guy Handbook (trite).
The ending of the Epilogue is ultimately even more unsatisfying than it renders the end of the main story: the protagonists reach the end of the dungeon; Elika goes off on her own to find her own people, leaving the prince on his own; credits roll. Nothing is resolved and nothing is accomplished across the lay of the Epilogue: Elika's father remains corrupted, the forces of evil are still spreading across the world, and both the protagonists still have a dark god hunting after them. This Epilogue, therefore, does less than nothing to the credit of the original story: instead of just leaving the consequences of the previous story to the imaginations of the player, it chooses to portray the subsequent events in the most tedious fashion imaginable, showing neither great acts of heroism nor the consumption of the bitter fruits of failure.
Prince Of Persia: Epilogue - Guide And Walkthrough ..
The Epilogue to Prince of Persia represents a total failure of what an epilogue is intended to accomplish: not tying up loose ends and settling matters in the minds of the audience but souring whatever feelings with which the audience may have come away from the main portion. To all of you who play through Prince of Persia and accept it as an experience – irrespective of whether you deem it 'good' or 'bad' – strike from your mind the very notion that there exists an epilogue to this tale, for it serves only to drain from players whatever joy they derived from the original product, and whatever effort you might spend in engaging this experience would be throwing goodwill after incalculably bad.
Prince Of Persia: Epilogue - PlayStation 3 - GameSpy
In Summation: This DLC add-on is the anti-epilogue; the dark opposite of a cohesive story that serves as a counterbalance to the competency of the original to the ruination of all.
