Chris Ingersoll

While the HD systems are receiving a new Prince of Persia title that fits into the narrative gap between last generation’s The Sands of Time and The Warrior Within, the Wii version of The Forgotten Sands is a stand-alone story with its own unique mechanics. Apparently the titular prince has somehow obtained a djinn companion, Zhara, who brings him to the kingdom of Izdihar. The young djinn bonds her immortal soul with the prince’s, allowing him to recover from certain death (since the game lacks the time-rewinding powers of the Sands of Time series) and later to manifest various powers that will help him to release the lost kingdom from its curse. 

The kingdom is overrun by a malevolent plant-like entity called the Haoma, although the prince accidentally setting free an evil sorceress at the heart of the curse isn’t helping matters. Most of the quest is spent chasing after “the beast”, a misshapen creature who has run off with part of the only weapon that can defeat the sorceress. Once that has been reclaimed, the weapon must be reforged by the gods who created it, forcing the prince to prove his worth to them to earn their favor. Finally, the sorceress must be defeated and the Haoma vanquished.

All of this is naturally accomplished via the parkour-style gameplay made popular by The Sands of Time. The prince will run along and up walls, hang from ledges, swing from poles, and otherwise improvise his own path through puzzling mechanisms and among lethal traps. To make up somewhat for the inability to rewind, there is an indicator that will usually show you when the prince’s destination is within reach, which is handy but sometimes inadequate for some of the faster-paced sequences. Along the way the prince gains three magical powers to aid him: the spirit hook allows him to cling to special plates (or later almost any wall), the whirlwind lifts him above deadly obstacles and sometimes cushions his falls (this is also restricted to special plates at first), and the magic sphere allows the prince to hover in mid-air to either change directions in mid-leap, act as a pseudo-“double jump,” or just save him from what would normally be a lethal plummet. Bear in mind that by giving you the freedom to use these abilities at pretty much any time, the designers have also given themselves free reign to make courses that are mind-bogglingly impossible at first glance. Later on the prince will have to chain these abilities (especially the sphere and hooks) to traverse seemingly-impassible sections; the trick is that you cannot have more than one of a given power active at one time and there’s a slight lag before you can reactivate them, so you can’t just keep making spheres over and over or spirit hook your way up a crazy vertical climb. Additionally, once you let go of one of these constructs it disappears, so you better be sure of where you’re going. 

Of course, this would be a lot easier if the camera weren’t so problematic. The game usually indicates a suggested path by the presence of Djinn’s Souls, which fill your Life Orbs as you collect them in addition to providing experience points towards new combat skills, but many times (especially later on) you have to figure out where to go next on your own. Holding the c button allows you to look around using the pointer… sometimes. Other times the camera is hindered by a wall or other obstacle, or it zooms in too close to be of any real use, or it won’t stay behind the prince to let you line up your jump/hook properly. The other danger with this mechanic is that the c button on the nunchuck is perilously close to the z button — which causes the prince to let go of his ledge, hook, sphere, or whatever, often into sudden death if you hit it accidentally. It really is something of a glaring flaw, as I died to camera-related issues about as often as I did to actual hazards and enemies.

The other flaw with the game is the combat, although that has been a recurring issue with the series for some time now. Combat in The Forgotten Sands isn’t terrible, but it is often an inconvenience, especially early on before you gain harder-hitting skills like the tried and true wall slash or when the game throws wave after wave of the tougher enemies (minotaurs, chthonic beasts) at you. Having to swing the remote or nunchuck to actually execute attacks is a nuisance but there isn’t much that can be done about that given the other controls and the need to use the pointer for your magical abilities (which also have combat uses). The game gives you the option to bypass a few enemies with the presence of “leaders”. Once you’ve defeated enough enemies in a given combat, a leader will appear, denoted by a blue glow. Defeating this enemy will end the combat early, at the expense of any extra experience you would have gained by defeating each individual opponent. Of course by that point you’ve already gone through a wave of two, so it’s not really all that helpful in the long run. Really the biggest problem with the combat is that it’s not the platforming action and puzzles that you would much rather be tackling.

There are a few other issues with the Wii version as well, most notably where the sound is involved. While the voice acting is fine (especially with Yuri Lowenthal reprising his role as the prince) and the music sufficient, the sound levels are off to the point where it is very difficult to hear anything Zhara tells you even if you crank up the voice volume and turn down everything else. Subtitles are provided and I highly recommend them, or else you’re likely to miss some important plot information.

Beyond the main narrative, The Forgotten Sands features several bonuses like a Heroic Challenge achievement system (some of which are just story milestones), unlockable challenge courses, hidden costume changes, and even the original SNES Prince of Persia title that you can unlock early on (instructions on how to do so are actually provided with the manual). These provide some replay value if you really want to play through the game multiple times, but whether or not you’re willing to do that will largely depend on how tolerant you are of the camera and other issues.

Overall I found the Wii version of The Forgotten Sands to be a fine platformer, but not the ground-breaking must-have of The Sands of Time. While I suppose we should be thankful that these games weren’t just quick cash-ins for the recent movie release, and I do appreciate the fact that the Wii got a custom-made title rather than a shoddy port of the PS3/Xbox 360 titles, ultimately I couldn’t get past the  fact that we clearly didn’t get the “A team” on this project. The camera, sound, and control issues really hurt my enjoyment of the game to the point where I really had to force myself to finish it. There are some nicely designed levels that are worth experiencing, but don’t feel like you should be in any rush to do so.

Plays like: other games in the recent Prince of Persia series

Pros: more innovative platforming action; custom-made for the Wii; SNES Prince of Persia contained on the disc as a bonus

Cons: serious camera issues; monotonous combat; over-reliance on chaining magical abilities seems forced at times

 

Game designer Matt Leacock impressed the worldwide gaming community a couple of years ago with the release of Pandemic, a cooperative game which pitted the players against four strains of ever-spreading diseases all over the globe. This year he has taken many of the great mechanics from Pandemic and produced a lighter, faster-playing cooperative game called Forbidden Island, published by Gamewright.  

In Forbidden Island, two to four players take on the roles of an adventuring team seeking to claim the treasures of a cursed isle (solo play is also possible, as it’s fairly easy to manage multiple “players” on your own). There are six possible roles, each with its own special ability that will be vital to success. On a player’s turn he can take up to three actions; the possible choices for each action are: 1) move to the next adjacent island tile (the Explorer can move diagonally, the Diver can move through flooded or sunken tiles, and the Pilot can hop to any tile he wishes once per turn), 2) shore up a sunken tile if you are on or adjacent to it (the Engineer can shore up two such tiles with one action), 3) pass a treasure card to a teammate if you are on the same space (the Messenger can do this no matter where he is), or 4) claim one of the treasures. The final role, the Navigator, can move any other player up to two adjacent tiles for one action. You claim the treasure by moving to one of the two tiles dedicated to that treasure and discarding four treasure cards (there are five of each in the deck) with that treasure on it. Additionally, there are two special treasure cards that can be played as any time and do not count as an action. After taking his actions, a player draws two treasure cards, discarding down to five if necessary, and then reveals flood cards equal to the current water level before passing the turn to the next player. If one of the three “Waters Rise!” cards is drawn, the water level increases one tick on the meter, then all of the revealed flood cards are shuffled and placed back on top of the flood deck, guaranteeing that those same cards will come up again soon.

Each of the twenty-four nicely illustrated island tiles are represented once in the flood deck. When a given card is revealed from that deck, the corresponding tile is flipped over to its “flooded” side. If a tile is already flooded when its card is revealed, that tile sinks beneath the waves and is removed from play along with its card; any players that happen to be on that tile must move to an adjacent tile (or the nearest tile in the case of the Diver) or the players lose the game. The players can also lose the game if Fools’ Landing sinks, if both of a given treasure’s tiles sink before that treasure is claimed, or if the waters rise to the “skull” level. The only way for the players to win is for all four treasures to be claimed, all players make it to Fools’ Landing, and then someone plays a “Helicopter Lift” treasure card. A lot has to go right for this to happen, obviously, but it’s far from impossible. Of course, it’s also possible for the players to be so unlucky to be dealt a “first turn kill”: six tiles are flooded at set up, and if one of them is Fools’ Landing an early “Waters Rise!” card drawn without being able to shore up the tile could result in their only escape route vanishing immediately!

Careful management of flooded tiles is key to surviving Forbidden Island. Priority should obviously be given to Fools’ Landing and the various treasure-related tiles, but you also have to remember to keep a path back to the escape point or you’ll lose everything. In addition to the three “Waters Rise!” cards lurking in the treasure deck, the flood deck will become reshuffled when it is exhausted, and since cards are eliminated as tiles disappear that turnover could be quite fast towards the end stages of the game. In a similar vein, don’t think that you’re in the clear once you’ve drawn all the “Waters Rise!” cards, as the treasure deck will have to be reshuffled eventually as well.

Forbidden Island rests somewhere on the border between filler and full game, with some sessions being playable in under 20 minutes. There isn’t much room for making that longer, although you can certainly make it shorter by increasing the difficulty level (starting water level) if you want to increase the challenge. While Forbidden Island may not have have the depth or weight as its older sibling Pandemic, you get a lot of game for your money. Contained in a neat little tin case are the 24 island tiles, 50ish cards (28 treasure, 24 flood, and 6 role), 6 player pawns, a water level meter (with plastic slide clip), and four really cool plastic treasure tokens. The best part is that all of this comes with the crazy bargain price of only $16; with that MSRP, there really isn’t a good reason to not have Forbidden Island in your game collection.

 

There’s a lot going on in what will soon become the bustling town of Carson City (published in the US by Eagle Games), although all that’s there at the start is a single residence, a bunch of mountains, and from two to five groups of cowboys looking to lay claim to the surrounding territory. Roads will be laid down, various buildings erected, and there might even be a firefight or two (although not near the churches) before all is said and done. Carson City combines several mechanics into a unique gaming experience; role selection, worker placement, and tile laying all need to be tackled to get the job done and earn the most points.

Players begin with one gun, one road, some cash, and three cowboys. After randomly determining the initial start order, each player claims one plot of land on the map; eight mountain tiles are randomly placed (using dice and the marked grid) as is the center of town, but the remaining squares are all up for grabs. A second plot of land is claimed in reverse order, and then the real game begins.

The first order of business each round is to choose one of the seven roles available. In addition to determining play order, each role has its own special ability and cash limit. Some abilities happen as soon as you select the role, others take place at the appropriate time in the turn. The next phase is placing your cowboys either on the buildings you wish to purchase, the plots of land you wish to claim (which can include any unclaimed space, even mountains or houses), or various actions you wish to take. The order for the next turn’s role selection is determined by the order in which players pass out of the placement phase, giving some players a reason to not use all of your guys on a given turn.

Once all of the players have passed, the actions resolve in order. However, with the exception of two basic actions and the universal actions, only one player actually gets to use each space. Conflicts are resolved with a shootout in which each player’s strength is compared; your strength is a random number from 1-6 plus the number of guns you have and how many cowboys you have left in reserve (another reason to hold some back, especially if you’re expecting a fight). The winner gets the space, while the loser gets his “dead” cowboy returned to him for future use (including future fights in that same turn). All cowboys that are successful in their placement are consumed, as there is a strict maximum of ten cowboys per player at any given time (you get an increasing amount at the start of each round).

Any buildings purchased as the actions resolve must be placed on the town map, preferably on a plot you own if you want to earn any cash from it. Each building also causes a house to be built, and all buildings must be accessible from the center of town by roads (“accessible” in this case meaning “a continuous string of roads at least touches one corner of each building”). Ranches and mines are exceptions and neither build a house nor require roads. Most buildings earn cash depending on what other buildings or locations are around them; for example: mines prefer to be adjacent to mountains, ranches like having open space, and saloons appreciate houses — but only neutral buildings(/mountains) or ones you own count towards your income. The game uses a built-in “dial” on each double-sided tile to indicate how much a given building is worth, with the “pointer” being on the slightly larger plot tiles; it’s a neat little concept, but can be a little fiddly at times as you usually have to re-evaluate each building every time something changes around it. One final use for cowboys during worker placement is to put them on properties owned by opponents. If you succeed in this (either because they didn’t defend themselves or failed in doing so), you steal half of that building’s income that turn.

At the end of the turn each player must discard any cash in excess of his chosen role’s limit. Every $10 you shed this way can be turned into points, but that’s a very poor exchange rate, as there are spaces on the board that can earn you one point per $2, $3, $4, or $5 (these actions that get taken away as the game progresses, with the 2:1 conversion only available in round 1), with one final $6 per point “action” taking place at the very end of the game — after you’ve discarded down to your limit at 10:1. The game plays out over only four turns, but each turn is significantly longer than the one before it due to more cowboys, more buildings, and generally more options available to each player as the game progresses. The last round is especially tense as each player tries to wring out the most points without going (too far) over their cash limit for maximum payout. You ultimately earn two points for every occupied piece of land that you own; combined with the final 6:1 conversion and the incidental 10:1s along the way, these are the only points you can earn without using one of the available actions and I’m fairly certain you will not win relying on just those “freebies”.

Carson City offers a number of strategies that could lead you to victory, although it is incredibly easy to fall behind early thanks to an unlucky shoot-out roll and never be able to really recover. Fortunately, the game also comes with a number of variants. In addition to a different map (the other one features a river that affects values of property in various ways) and alternate powers for each role, there is a tile-based shoot-out variant in which each player is given seven one-use tiles, valued from 0-6, that replace the die roll and bring a bit more strategy to conflicts to those who are paying attention to whom has shot which “bullets” (if you manage to spend all seven you can “reload”). I prefer anything that eliminates randomness getting in the way of my strategy and highly recommend using the tiles, although the “standard” game should be experienced at least once as well.

Given its potential length and complexity, Carson City may take some getting used to before you really appreciate it. It’s certainly not a game I want to play every week, but it can make for a good “main event” at a game night once everyone is up to speed, especially with all of the variants available to keep things fresh. 

Again

May 19, 2010

The team behind past DS titles like Hotel Dusk and Trace Memory have brought another “interactive novel” to the handheld, this time with a modern crime theme. Like Hotel Dusk, Again has you hold the DS sideways like a book, with the touch screen providing text interfaces while the other screen shows you character reactions and other scenery. The presentaion is very similar to CING’s previous work, and although Again uses actual photographs of actors rather than Hotel Dusk‘s sketch-like portraits, the overall effect is pretty much the same.

In Again, you take on the role of FBI Special Agent Jonathan “J” Weaver as he and his partner Kate Hathaway reopen the unsolved “Providence” killings that took place 19 years ago — and which are now seemingly happening once more. J’s family were the final victims of the original killer, and he receives a mysterious letter telling him to “go back to where it all began” shortly before the new murders begin. Shortly after entering the scene of the original murder, J experiences a vision of the same scene 19 years ago, which is the main focus of the actual gameplay in this title.

When experiencing a vision, the touch screen represents the present day, which J can explore; the past is displayed on the other screen at the same time. When J discovers a significant difference he can focus on it to gain further insight, but if he focuses on the wrong aspects it drains some of his strength; too many of these misses are the only way to earn a Game Over (that I discovered, at any rate), although his strength returns to full at the beginning of each new day. Oddly, this mechanic has more in common with the Konami game Time Hollow than with CING’s other titles, which are more traditional puzzle-adventures. There are a few puzzles in Again, but mostly it’s just a 3D version of “spot the differences.” As J matches the present to the past, he eventually pieces together a vision of what went down nearly 20 years ago. The idea is that by figuring out the original murders, the identity of the “Providence” killer can be determined before he — or a copycat — can recreate the entire spree in the present.

The rest of the gameplay is J and Kate driving all over town and asking various questions to witnesses, local law enforcement, and other notable characters involved in both cases. There aren’t a lot of branches in these dialogue trees, and answering incorrectly at the very few times it is possible to do so earns you nothing more than a “that’s not right…” from Kate and the opportunity to submit the correct answer. You rarely even need to use your inventory, despite having the ability to show all kinds of photos and case files at your disposal. It’s really kind of boring, gameplay-wise, although at least the narrative is interesting enough to hold your attention. 

And that’s all there is to it, frankly. Outside of the few past visions there isn’t a hell of a lot to do other than read. One could argue that a game billing itself as an “interactive novel” is supposed to have lots of text, but I felt that Hotel Dusk had much more of the “interactive” part than Again, which made for a better game overall . I blew through Again in a single day (~10 hours of play) mostly because I was engaged in the plot. Sadly, I thought that the resolution kind of fell apart towards the end, as the motive for the present-day killings seemed awkward, and the identity of the killer should become obvious to the player well before J and Kate put everything together. Discovering the truth behind the past killings was much more interesting, with the intersection of the two sprees  feeling a little forced but not entirely unreasonable.

In the end, the lack of interaction and decent puzzles is what keeps Again from reaching the heights of its noir-inspired predecessor Hotel Dusk. It’s worth a look if you’re not opposed to more reading than usual, and I’d put it roughly on par with the similarly-themed Time Hollow.

Plays like: Hotel Dusk without as many puzzles (or as solid characters).

Pros: Decent enough story, fairly original concept

Cons: Too much “novel,” not nearly enough “interactive”.

 

Infinite Space

May 19, 2010

At the unlikely crossroads of dating games, space opera, and real-time combat sims sits Infinite Space, an ambitious DS offering from the Platinum Games crew (best known for console titles like Viewtiful Joe, Okami, God Hand and Madworld) and the lesser-known Nude Maker team (Clock Tower, Steel Battalion). You play as Yuri, a young man who dreams of sailing the infinite sea of stars as a “zero-g dog” (think “sea dog,” but in space); he is initially helped in his dream by Nia, a “launcher” whose main occupation is getting budding zero-g dogs off the ground, but she’s just one of several dozen potential crew members that you will encounter as the game progresses. 

Yeah, several dozen. The main feature of Infinite Space is its ridiculous depth; in addition to the Chrono Cross-like level of personalities — each with their own strengths and skills that can help them serve as one of over twenty key crew positions (with Yuri permanently assigned to Captain) — there is also a vast array of ship designs, modules, weapons, fighter craft, and other details that will have hardcore stat munchkins slavering. The narrative even branches off at a couple of points, closing off various options for good depending on which way you go, providing an excuse for subsequent replays.

Not that you’re likely to have the time for a second or third run through the game, as your first play-through will take you around forty hours at the bare minimum; if you’re not opposed to grinding for cash, experience, and fame that number could easily increase substantially. There is a lot of game contained in that tiny cartridge.

And yet, ironically, there isn’t a whole lot to actually do during all of that time. A large portion of your time will be spent simply managing your fleet. Each blueprint you obtain allows you to build a new ship, if you can afford it, and each ship has its own unique space for modules. Unfortunately, you can’t discover how much space (and in what configuration) until you actually build the ship, which creates a lot of unnecessary save-loading as you experiment with your dizzying options. And of course as you progress in your adventure you will gain access to newer modules in addition to new ships, which further compounds the issue. Once you’re done with all of that micro-managing, you’ll find yourself spending even more time navigating dialogue trees and reading responses a paltry three lines at a time (while the upper screen does absolutely nothing but show a picture of Yuri, in a fascinating misuse of the DS’s capabilities).

Fortunately the game isn’t entirely stats and tedium. Like any space story worth its laser beams, you will frequently encounter enemy ships (often pirates) in combat. The real-time action seems simple on the surface, as you only need to concern yourself with the distance between your two fleets and not with the other two dimensions of travel and the primary commands have a rock/paper/scissors-like relationship (barrages deal triple the damage of normal attacks, but can be negated by dodging — which makes you more vulnerable to normal attacks); most of the strategy comes from managing your command gauge, which builds over time (and can be increased by the abilities of your crew and/or modules) and is consumed at different rates by the various commands. You can see your opponent’s approximate command gauge level as it changes (and presumably the AI sees yours in the same way), allowing you some insight as to what they’re up to. Combined with the positioning to place (or keep) your opponents in range of your weapons (which have both maximum and minimum values), this creates an oddly compelling sort of cat-and-mouse strategy that can be brutal on rookies who aren’t on top of things.

Perhaps more important, however, is the formation of the enemy fleet. Ships in the back of the formation are harder to hit than ones up front; each potential target has an indicator that tells you this information and you can switch targets with a simple tap, but you often start combat locked on to the enemy flagship — which is usually in the very back row (and where yours should be as well once you gain the ability to command more than one ship, since losing your flagship equals Game Over). Not realizing this key fact is the number one source of frustration early on, especially when it comes time for your first boss battle — and the game does a pretty poor job of explaining it to you.

In fact, the game does a pretty poor job of explaining everything to you, which is easily its biggest failing. Some information can be found in the manual (including the formation thing), but even if you’re one of the rare gamers who even opens those these days it’s still not all that clear. Buried on page 15 of the manual is a link to an online “commander’s guide” PDF that does a much better job of explaining a lot of how the game works, but there are still tons of little things that aren’t covered. Some of them can be found by navigating the in-game Help system (which is unfortunately on its own subscreen instead of being accessible from anywhere), but not all of them — and the in-game Help is incomplete at first, with virtually no indication of when certain topics become available as the game progresses.

There are a few other shortcomings with the game as well. The most notable is a lack of any sort of mission log; if you put the game down for a while and pick it up again later (or are just too busy grinding) you can easily forget what it is you were supposed to be doing. Not helping matters is the large number of oddly-named planets, regions, and characters you will encounter, which can be tough to keep straight even if you’re paying attention. This can have a negative effect on following the plot as well, but overall is a fairly minor problem. There’s also melee combat (more r/p/s), which you can (eventually) enter via ship combat at close range, when it isn’t disabled, but also occurs while investigating various structures on the ground; these ground encounters consist of nondescript passages that seemingly go on forever, are really uninspired, and are all identical no matter where you find them.

Completing the game will unlock two additional play modes. Loading your completed save file lets you start over in a New Game+, which gives you the opportunity to explore the other branches of the adventure while retaining the experience levels of your crew members (but nothing else, like all of your blueprints). There’s also Extra mode, which is an all-combat variation on the game; you start with 10,000 credits and have to hunt down various boss fights within your current region before you can move on to the next one. 

In the end, what you get out of Infinite Space is dependent on what you’re willing to invest into it. The combat can become repetitive and is the only factor breaking up the dialogue and management bits, so if you’re not into that kind of thing you’re probably going to find the game boring at times. Even if you like the heavy stat-managing element you might run afoul of the various other weaknesses. If you can look past all of that? Have fun losing a crazy amount of your free time to the life of a zero-g dog.

Plays like: Star Wars: the dating sim

Pros: incredible depth and length of play; deep replay options for those inclined

Cons: poor documentation; at times tedious game play