Consolation Prize

I had an inkling that the Prince and Elika wouldn’t end up walking hand-in-hand into a clichéd sunset as the credits rolled at the end of Prince of Persia, but the actual ending did leave me with mixed emotions.

[Spoilers Ahead]

During the game it’s revealed that Elika had previously died and has been subsequently resurrected. Her current existence, and thus the corruption that is spreading throughout the land, is a direct result of a bargain struck by her father to free Ahriman in return for his daughter’s life. In the final climatic battle with Ahriman, Elika has to choose her fate, and in an act of self sacrifice uses her own life force to restore the Tree of Life and imprison the dark god.

It’s directly after this event where the game takes an interesting course of action. After the Prince has rushed over to the princess, gathering her lifeless body up in his arms, the controls suddenly and unexpectedly return back to the player. You’re expecting an end cinematic so it comes as a bit of surprise to learn that the game isn’t quite over just yet. This is just a pseudo ending, a prelude designed to tug at the heart strings as the Prince walks out of the temple whilst some credits roll with some suitably melancholic music playing in the background.

Upon exiting the temple the true cyclic nature of the story is revealed, and we have in fact come full circle when the Prince, lying Elika upon the temple alter, decides to destroy the Tree of Life, freeing Ahriman, but importantly restoring Elika to life. The first word uttered from her lips after her resurrection is “Why”?

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Prince of Persia is a glorious game to behold – a visual feast for the eyes. From the outset as I witnessed the prince wandering aimlessly amidst a sandstorm, his shouts for his lost donkey “Farah” muffled by the roaring wind; to the first encounter with Elika as she tries to evade her pursuers, I was impressed by the visual splendor. There’s little doubt in my mind that as an opening sequence Prince of Persia successfully seduces the player.

And believe me I was seduced – for most of the time.

Beyond the cell shaded graphics there is a charm to the game that I find appealing. The interaction between the Prince and Elika, which starts out as a necessary companionship born out of the circumstances, develops as the adventure progresses. The early flirtatious sarcasm and teasing matures to become a more heartfelt relationship, and I actually believe that there is some genuine affection between the two - or maybe that’s all just wishful thinking in my head.

However, juxtaposed with the good there are some aspects within Prince of Persia that aren’t quite to my liking. The four magical abilities gained by Elika at the temple of the Tree of Life, which are awarded upon gathering a set amount of light seeds are really just variants of the same theme. The Step of Ormazd shoots you directly from one magical pad to the next like a cannon ball, The Hand of Ormazd shoots you from one pad to another but in a less direct route; and upon gaining the Wings of Ormazd, Elika flies the Prince all over the map, but with only limited control to move up-down-left-right to avoid objects. We really should just view these abilities for what they are; a method to control the players exploration and provide some linearity, but some more interesting and diverse abilities certainly wouldn’t have gone amiss.

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The skateboarding crown once held by the Tony Hawk franchise was put in dire peril in 2007 when a new kid on the block, namely Skate, made its appearance. Developed by EA Black Box Skate generated quite a lot of praise for its innovative controls and environments upon release, and now 16 months later we’re getting a sequel. To wet your appetite a demo of Skate 2 was recently released on Xbox Live Marketplace and is scheduled to arrive on Playstation Network imminently.

The career demo lets you sample the initial first moments of the game, enabling you to comprehensively design your avatar’s look and then jump into some simple challenges. The vast customisation options not only extend to tinkering with your facial features and clothes, but also your skateboard deck, truck and wheel selection - albeit only as far as your limited $300 budget will stretch. You can appreciate that in the full game you’ll certainly be able to completely style the look of your skater as more funds become available and additional items are unlocked.

Once you’re happy with your skater then it’s straight into the tutorial as you head off to Slappy’s Skatepark, learning the odd trick or two along the way. What’s initially quite impressive is the use controller to perform tricks; from simple ollies and nollies to kick flips and rotations, they’re all handled by flicking or rotating the right analogue stick. It does take a little bit of time to get used to, and undoubtedly you will fall off your board at some point, but it does feel like a more natural control method than just simply pressing a sequence of face buttons. Once at Slappy’s you’re met with the usual assortment of ramps, and rails to perfect your jumps and grinds, but there are also a few challenges to complete as your sick tricks can be photographed for Skateboard Mag.

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Mirror’s Edge has a lot of potential. It promises to take the FPS in a new direction focusing on the art of free running - Parkour - and away from shooting. In fact, FPS is probably the wrong acronym to use and it would be best described as a first person action game.

Mirror’s Edge is placed in a seemingly utopian city with clean streets and gleaming skyscrapers. All is not as it seems however, and this perfect society is in fact a mask for a totalitarian government with a penchant for over the top big-brother-like surveillance. The only way to deliver sensitive information in this day and age is to employ a runner - specialists in moving data under, over, and around the radar. This is where you come in as you play the role of Faith.

There are a couple of things that you need to get used to before you can get the most out of Mirror’s Edge. Firstly the controls are a little more complicated than one would usually associate with a first person game. This is mainly due to the fact that Faith can perform a variety of manoeuvres that allow her to traverse the environment with speed and grace or disarm dangerous opponents. But, it is also true that you’re brain will require a minor rewire to automatically associate “jumping” and “ducking” actions with the assigned left shoulder buttons on the controller. Secondly, you need to be aware of your environment and make good use of Faith’s “runner’s vision” which conveniently highlights objects that will be of assistance when traversing the cityscape a bright red.

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Going back a few years to 1996 I remember thoroughly enjoying Tomb Raider on the PlayStation. It was an amazing game to play at the time; full of exploration with intricate platforming levels, featured some truly stunning and varied locations, and was steeped in mythology which enhanced the story. Both gamers and the media alike took to the new English upper class gun-toting-ass-kicking heroine, Lara Croft, like ducks to water. And for a while everything was hunky-dory.

However, after so many sequels it got to the point where the game had moved far away from the roots of its success and had become just another run of the mill action game, albeit with a female protagonist. Thankfully the series was given a much needed reboot by Crystal Dynamics with the release of Tomb Raider: Legend – an enjoyable romp based on the Arthurian legend. And now we’re on the verge of finding out whether the series is going to continue it’s upward ascent, or is about to plummet back down to earth like a fallen angel (of darkness) with the release of Tomb Raider: Underworld

The recently released demo at least gives us an inkling of how the finished game is going to fare, and on the whole I’m pretty happy with what I’ve seen so far. Although there are still some issues that could do with being ironed out.

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While waiting for the release of Fable II this week, a title I’ve been anticipating for many months, I took the opportunity to play through the Brothers in Arms: Hells Highway demo. An historical tactical first person shooter based on the events that occurred during Operation Market Garden, an allied airborne invasion that saw two American divisions and one British division dropped behind enemy lines in the Netherlands with the aim of securing key military bridges.

The WWII historical theme may be getting a bit too close to overstaying its welcome since the market became saturated with sub-par historical shooters, but there’s no denying that as a back drop for a story it’s one of the richest veins a developer can tap into. And, if handled correctly, can still deliver a meaningful FPS.

I’ve never played a Brothers in Arms game before but I definitely get the impression that this is a more tactical shooter than say Call of Duty. Playing the role of squad leader Matt Baker of the 101st Airborne Division, you’re in command of a fire team which you can order around the battlefield to provide suppressive fire support. Suppression of enemy forces is in fact the key to game, and whenever an enemy soldier is in cover a small round dial appears above their head to indicate how “suppressed” they are; the aim is to ensure the dial is completely grey, thus making life easier for yourself as you approach their flanks.

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Based in the near future, Tom Clancy’s EndWar is the recounts the desperate struggle for resources between the superpowers of the US, the EF (European Federation), and Russia in the year 2020. Unsurprisingly, the events leading up-to this “clash of the titans” doesn’t feel that unbelievable, and as with all the best fiction it contains some contemporary truths woven into the fabric of the story line.

But enough about the setting, what you all want to know is if this real-time-strategy game is any good or not, and is it worth keeping an eye on? Well, yes. I found it entertaining enough to play and it managed to burn a good hour or two of my time without me even realising.

Of most interest to gamers will be the voice control interface. Indeed I must admit to being a bit dubious about the actual practicality of such an interface, but once the voice configuration is complete, and the dialog and structure of the possible commands learned, then in practice it turns out to be surprisingly good and easy to use. Only on the odd occasion did it not understand my commands - even when I tried to catch it out by speaking faster than normal.

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Think of War World as the poor man’s Unreal Tournament - but with Mechs. That’s probably the easiest way to summarise the game and definitely my overriding impression from my brief time with the game. This therefore is predominantly an arena based deathmatch shooter with a selection of Mechs that have vaguely differing capabilities. Smaller Mechs tend to be quicker but have less armour, whereas the larger behemoths compromise speed in favour of a thick protective coat.

It’s quite difficult to formulate an in-depth opinion of War World due to the heavily restricted nature of the trial game. Given that you’re only able to choose from one mode (deathmatch), one arena, and one Mech (Panther Striker), and then given an embarrassingly miserly 50 seconds of game time before being told “Game Over” and unceremoniously dumped back at the title screen, its little wonder then that my overall impression isn’t going to be a glowing one. The cynic in me wonders if it is deliberately handicapped to avoid revealing all the game has to offer within 300 seconds, let alone 50 seconds.

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