Prince of Persia was easily one of the most enigmatic games 2008. I’ve been poring over Michael Clarkson’s wonderful “Critical Thinking Compilation” at Discount Thoughts, and it seems this title has divided critics over everything from ease of play to its controversial ending. While it’s hard to imagine that I can actually add anything to the wealth of discussion this game has generated, I’d like to try connecting the two dots mentioned above.
Clarkson himself points out that the platforming in Prince of Persia “focuses on instinct and rhythm” in such a way as to “inspire a feeling of exhilarating freedom, an idea that you can go anywhere in this world.” He argues that the game’s design choices coerce players into identifying with the Prince and, honestly, it’s all quite convincing — the game mechanics clearly highlight the protagonist’s carefree attitude in a manner that overshadows difficulty. Acrobatically navigating the environment is a real joy, and part of this has to do with the unmistakable feeling of competence Prince of Persia engenders. With only a very little practice to learn the game’s cues, playing as the Prince becomes a fluid and almost effortless experience. But it’s completely dependent upon the princess.
Spoilers to follow.
(mashedmarket) 