Jump Up, Jump Up, And Get Down
HIGH It just gets better and better and better…
LOW …Which is good because it doesn’t start well.
WTF The quality of Ubisoft’s voicework makes me question why I quit acting.
We have got to come up with a better name for Metroidvanias than “Metroidvania”.
Look, I get it. It’s a preposterous word, but when someone experienced in videogame circles hears that a game is a metroidvania, we know exactly what kind of game it is. It’s a good descriptor, and unfortunately alternative genre titles like “Search Action” haven’t caught on, so we’re probably stuck with it. The Metroid part means “non-linear and featuring a map” while Vania, I guess, means “gear and RPG elements”? The latest title to get this moniker is Prince of Persia: The Lost Crown.
Even though Prince of Persia has been a metroidvania in the past, I was less than enthused about this latest entry being “one of those”. First off, there’s a lot of those, and the genre’s dominance in the indie sphere assures me that most of the people reading this review have probably played dozens like it over the past few years.
However, most people under the age of 40 don’t think of Jordan Mechner’s original Prince of Persia when they hear the name, but rather think about the 3D platforming Sands of Time trilogy from 2003-2005. That’s certainly where my nostalgia for this franchise comes from. Needless to say it’s been a while since then, so there was definitely some trepidation around this new offering considering that another game like Warrior Within (the best game in that trilogy and not a metroidvania at all) would’ve been greatly appreciated.
Those fears, as it turns out, were completely unfounded.
I was fearful after the first hour or so, because the only significant negative about this exceptional videogame is that it starts poorly. The introductory bit is an explosion-filled linear battle which doesn’t resemble the actual campaign in the slightest, and then the player is set loose to roam through the rather tame opening areas of the world map with a minuscule move set — it all left me feeling a bit cold. I also made a mistake and started the game on Hard. As I would find out, Lost Crown is pretty difficult, so making it more difficult on myself from the get-go was a bad call. Thankfully, this (among other things) can be changed mid-campaign thanks to Ubisoft’s exceptional accessibility settings.
Thankfully, this poor first impression wanes once a groove sets in, and from that point forward, Prince of Persia: The Lost Crown absolutely sings. This is the latest project from Ubisoft Montpelier, who most recently worked on the exceptional Rayman: Origins and Rayman: Legends. Those titles were praised for fabulous art design and finely tuned platforming, and they have carried those two traits into this new release.
While it’s not the most technically impressive piece of software, the art design of the world and characters carries the load, and the anime-inspired effects in cutscenes look particularly exceptional as people scream and swing their swords in a highly exaggerated style. The character designs are a bit blocky, but they animate incredibly well both in-game and during cinematics.
The backgrounds aren’t quite as lush as they were in Montpelier’s previous work, but this is made up for by exceptional smoothness. Those playing on modern hardware with an up-to-the-task TV will thoroughly enjoy a full 4K resolution at a silky 120FPS. I played on PS5 which, according to Digital Foundry, has some slight dips compared to the more stable Series X version, but I didn’t notice much. Odds are those who can take advantage of 120FPS also have access to a VRR display, which cleans up the hiccups significantly. For a platforming experience where precision in movement is so important, a high framerate option legitimately makes it a better play, while also making the basic graphical fidelity more palatable. Screenshots and streaming video don’t capture it fully, but it looks outstanding in motion.
In terms of design, while The Lost Crown is essentially a metroidvania, it differentiates itself in a couple of key areas. The first (and most important) is a focus on platforming.
Combat is a big part of the adventure and some Souls-inspired boss design makes for exciting fights, but The Lost Crown is a platformer first and foremost. Lead protagonist Sargon is as nimble as a proper Prince of Persia protagonist should be, and it’s a real joy to flip and leap around levels while avoiding various spinning spikey things.
Another outstanding aspect is the pace at which the player earns new abilities. Unlike some contemporaries where one gets a move that is used occasionally and maybe opens a door for progression now and then, The Lost Crown is constantly giving the player huge, foundation-shattering moves that fundamentally change not only how it plays, but how I thought about traversal. This is the key thing that all of the truly elite entries in this genre share, and it’s done extremely well here.
For example, Sargon has everything from air-dashing to the ability to see into other dimensions, and only two-thirds of the way through does the player finally earn a rather benign sounding double jump. Once that comes along, the map really opens up and the possibilities for what the player can do become near-limitless. This is supported by pitch-perfect controls and an exceptionally well-thought-out default control scheme. It’s a purely joyful experience to just move in The Lost Crown. Further, there were a few puzzles near the end of the campaign that had me questioning if I had ‘broken’ the game and completed the puzzle in ways the devs didn’t intend, but this is a surefire sign that the vast array of abilities are working as designed.
I really can’t stress how positive an experience The Lost Crown is overall, but there are a couple of nagging issues. First off, while I adored the challenging and fast-paced boss fights, moment-to-moment combat with regular enemies gets fairly stale — I just want to jump around and traverse, not smash up some easy goons.
The music, sound design, menus, and tons of accessibility options are all great, but one of Ubisoft’s numerous Achilles heels shows up again via mediocre voice acting. Some performances are alright, but the actor voicing Sargon, the protagonist, isn’t strong when the script calls for things to get serious — the weak voicework in these sections undercuts the experience overall.
Very rarely have I done as complete a turnaround with something the way that I did with Prince of Persia: The Lost Crown. I went in concerned about playing another metroidvania and the bumpy start had me questioning the wisdom of requesting this assignment. However, I am happy to report that those feelings dissipated quickly — The Lost Crown is a fantastic project that both honors the lineage of the franchise while also taking it in a bold new direction. One could easily make the argument that this is the best game Ubisoft has produced in around a decade, and it’s an easy call to say that this is 2024’s first must-play title. Don’t miss it.
RATING: 8.5 out of 10
Disclosures: This game is developed by Ubisoft Montpellier and published by Ubisoft. It is currently available on Xbox One, XBX/S, PS4/5, Switch and PC. This copy of the game was obtained via publisher and reviewed on the PS5. Approximately 29 hours of play were devoted to the single-player mode, and the game was completed. There are no multiplayer modes.
Parents: According to the ESRB, this game is rated T and contains Blood, Mild Language, and Violence. Parents should rejoice, as The Lost Crown is great for all ages, and one of the few AAA releases not targeted towards adults. Blood is minimal, I can’t remember anyone swearing, and I found nothing objectionable during the whole runtime. It’d be an awesome game for pre-teens/teenagers.
Colorblind Modes: There game was reportedly designed with Colorblind gamers in mind, so there is no specific “colorblind mode”, but there is a setting for high contrast. Unfortunately I have heard through anecdotal experiences that these may not be sufficient for all colorblind players to fully experience.
Deaf & Hard of Hearing Gamers: This game offers subtitles. The subtitles can be resized, a backdrop can be added, and there are different color options. Gameplay-based subtitles are fully customizable and there are no necessary audio cues. There are numerous visual aids for timing based actions. A full list of accessibility features has been provided by Ubisoft. I’d say this is fully accessible.
Remappable Controls: The controls are completely remappable on consoles.
He is currently attending graduate school at Pacific University seeking a Master's In Teaching with a focus on secondary social studies. From 2015-2020, Jarrod worked as a school teacher in various countries throughout Asia, and is now seeking certification to teach in his home country so a global pandemic doesn't leave him stranded again.
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