Palworld Dev Insists That Its ‘Pokémon With Guns’ Survival Game Is ‘Not a Scam’

Pocketpair wants fans to know Palyworld, its new game popularly described as “Pokémon With Guns,” is definitely not a scam.

The assurance is part of a frequently asked questions post put out by developer Pocketpair on the Steam page of their upcoming creature collecting survival game. The slightly unusual inclusion of this section in their FAQ comes in the wake of titles like The Day Before, which has created increased distrust between players and early access developers on Steam.

The question reads: “Is this game a scam? Or is it a money-making MMO or virtual currency game?” to which the developer answers: “It is not a scam and will definitely be released on January 19th. PalWorld is a typical Steam game, you buy it once and it is yours forever. While we may consider expansions after the full release, that is a conversation we will all have together, as a community, when the time comes!”

Pocketpair certainly isn’t kidding that this is a frequently asked question either — when typing “Is Palworld” into Google, “Is Palworld a real game?” came up as one of the top suggestions, so clearly people are wondering if they can count on this creature collecting to deliver.

“PalWorld is a typical Steam game, you buy it once and it is yours forever.”

Though we won’t be able to give our impressions of the game just yet, IGN can indeed confirm that several members of our team have access to and have been playing Palworld, which is a real game and not a scam. In fact, you can already watch our first 15 minutes with it right now:

For the full impressions of our review in progress, check back on IGN.com tomorrow (January 18) at 9:00 AM Pacific Time.

Travis Northup is a freelance writer at IGN.

How Xbox Is Changing the Nature of Exclusivity

Last week, the Xbox community was sent into a tizzy over rumors that Xbox exclusives Hi-Fi Rush and Sea of Thieves might soon be exclusive no more.

The rumors remain unproven, but an imminent Xbox Developer Direct has given these reports extra weight. And beneath Xbox console fans’ outcry over the potential loss of more exclusives to other consoles, there is an interesting question rising from the dust of the console war battlefield. For the last console generation, Xbox has been pursuing a markedly different strategy to its competitors: while Nintendo and Sony were busy selling tens of millions of console units on the power of first-party exclusives, Xbox has been trying to build an ecosystem of software that transcends a single box under the TV. Gaming for everyone, Xbox games on every platform where people are playing. Sounds nice, right?

With the Activision Blizzard deal now done and Xbox squarely behind both Sony and Nintendo in terms of console sales this generation, all eyes are on Xbox to do something astonishing that will turn the tide in its favor and maybe transform the industry in the process. What will the trick be? Multiple massive blockbuster first-party releases? Finally making cloud gaming something people actually want to do? Releasing Game Pass on Switch?

Okay, it’s unlikely Xbox has some big 3D chess move prepared this year, and certainly not in time for the Developer Direct. But conversations with a number of industry analysts have convinced me that 2024 is the year we finally start seeing Xbox’s grand ecosystem strategy – and all it entails for exclusivity, multiplatform play, and cloud gaming – finally start to take shape.

The Quest for an Xbox Ecosystem

Xbox has publicly been on the “ecosystem” train since before the current console generation. Way back in 2018, Spencer said at a Barclays conference that Xbox Game Pass was the future, and that future was going to be on “every device.”

“We use the flywheel that we have with customers on an Xbox to start the growth in Xbox Game Pass. But as somebody sitting back and taking a longer-term view of where our business is going, you should look at that as a business model that we think scales to billions of people not hundreds of millions of people like retail does.”

The following year, Spencer told Kotaku that “the consoles are not where the profit in this side of the business is made,” and that instead the focus needed to be “all about how many games are people playing. And how much people are spending playing those games and how often they play.”

But the conversation isn’t just about Game Pass or subscriptions. Since the release of the Series X and S, Spencer and other Xbox spokespeople have reiterated variations on the theme of meeting players wherever they want to play, including conversations about tech and game releases on other platforms. This mantra perhaps fed rumors in 2019 that Xbox Game Pass was coming to Nintendo Switch. While that ended up being one step too far, Xbox did bring previously-exclusive games Cuphead and Ori and the Blind Forest to Nintendo’s platform later that year — an unprecedented move for a company selling its own gaming box.

Xbox has tried to temper fears that it’s not focused on growing its own console, especially amid ongoing criticisms this generation that it doesn’t have enough first-party exclusive hits. In 2020, Spencer made an effort to reconcile his gaming philosophy with the fact that any Switch or PlayStation rendition of GamePass would inevitably come with caveats: “The other competitive platforms really aren’t interested in having a full Xbox experience on their hardware. But for us, we want to be where gamers want to be and that’s the path that we’re on.”

Last summer, he and other Xbox leaders asserted that console was “critical” to the future of Xbox. And then, at the end of last year, Xbox CFO Tim Stuart appeared to reiterate the GamePass everywhere strategy, only for Spencer to seemingly rebuke it not long after.

On a surface level, this series of public comments, official decisions, and rumors can make it a bit tricky to tell how serious Xbox is about the whole “ecosystem” thing. But Circana analyst Mat Piscatella frames the last five years of news headlines differently when I ask him his thoughts on it, noting that Xbox has actually been “pretty consistent” on what’s actually come to market, and that the mish-mash of strategy conversations we’ve seen over the last generation is more emblematic of a company in transition, with all the challenges that come with it.

“They haven’t gone all-in on the strategy, at least not yet,” he says. “Bringing games and services to other platforms in order to drive dollars on the content and services side would surely help, but there’s also the hardware business to support, so I’m sure there’s quite a bit of push and pull happening. And parts of the established base want to cling to the old hardware installed base driven model, and have been quite vocal about it.

“It’s a tough place. They’re trying to expand the audience and drive new ways of playing, but also don’t want to leave the audience that’s been with them from the start behind. It’s a difficult thing to do, with many interests and inputs to balance.”

Xbox’s current strategy is born out of necessity

It’s no wonder Xbox is running into obstacles – what it’s suggesting is a pretty dramatic overhaul of the existing model for how games, consoles, and exclusivity have worked for years. As Superdata co-founder and NYU Stern School of Business professor Joost van Dreunen puts it, “Xbox has redrawn the games industry landscape. Where historically the market was made-up of insular walled gardens, Xbox’ current strategy proposes a device-agnostic, cross-platform roadmap.”

Ampere Analysis’ Piers Harding-Rolls notes that it’s also uniquely positioned to suggest an ecosystem strategy thanks to its “history in the PC gaming space, its key role with Windows and its long list of B2B services targeting the games sector, including Azure and developer tools,” But he acknowledges too that Xbox’s move seems to have been born, at least in part, out of necessity, as Xbox has fallen behind in the so-called “console wars” since the heyday of the Xbox 360.

The Series X and S have not helped it gain much ground. Omdia’s console forecast suggests that Xbox Series X and S hardware sales dropped by 12.7% year over year in 2023, despite it being at phase in its lifecycle that would traditionally be considered a “growth phase” and releasing what should have been a blockbuster exclusive in Starfield.

“To make matters worse, we’re expecting the seven-year-old Switch to have outsold Xbox Series X/S by almost a factor of two in 2023,” says Omdia senior games analyst James McWhirter.

We’re expecting the seven-year-old Switch to have outsold Xbox Series X/S by almost a factor of two in 2023.

Multiple analysts I spoke to pointed out to me that while some might have expected Xbox to rectify this situation somewhat with its recent acquisition of Activision-Blizzard, its pledge to keep major games multiplatform for at least a decade means it won’t be able to capitalize on them as exclusives to bolster those console sales anytime soon. Meanwhile, Xbox’s whole “ecosystem” situation isn’t exactly rocketing them to the moon either.

“We’re seeing slowing adoption of Xbox Game Pass even though Microsoft will claim otherwise thanks to the repositioning of Xbox Live Gold as Xbox Game Pass Core,” McWhirter says. “Our forecast estimates total Xbox Game Pass subscriptions (excluding Core/Live Gold) to be at 33.3 million at the end of 2023, which represents subscriber growth of just 13% – down from 15% in 2022. Notably, over half (55%) are currently on the device-agnostic Ultimate tier.”

Piscatella notes too on X/Twitter that subscription services specifically aren’t growing as fast as they used to. Xbox’s kingdom cannot be built on subscription alone (especially if key developers aren’t sold on its value), nor can it be built overnight. Phil Spencer wasn’t lying last summer when he said that consoles remained “critical” to the success of Xbox, but here’s a new reading of that statement for you: consoles seem to be “critical” to sustain the business while Xbox metamorphosizes. That’s why Spencer is, quietly, still advocating for the big exclusives the Xbox console audience keeps demanding, even as Microsoft president Satya Nadella seems far less interested in the idea. Even if it’s third place in the console market, Xbox needs that bronze medal as a lifeline while it makes inroads into new sectors where it hopes to win gold, such as cloud gaming and this supposed bold new software ecosystem of cloud, subscriptions, exclusives, and mobile games it keeps alluding to.

2024: The Year of the Ecosystem?

So when will we see Xbox finally emerge and make good on its promises of gaming for everyone, everywhere? Will the Developer Direct this week herald a bold new era? Is 2024 the year of Xbox at last?

Well… probably not. These things take time. But that doesn’t mean we shouldn’t expect to see more inroads built this year. Most analysts I spoke to agreed that while Xbox’s 2024 first-party portfolio will likely be stronger than that of previous years, it isn’t going to rocket the console to the top of the sales charts.

For one, 2024 will almost certainly offer clarity on Xbox’s strategy for Activision Blizzard games, especially with regard to which ones are coming to Game Pass and when, what it plans to do with PC-exclusive World of Warcraft and back catalog games like Starcraft, and what Xbox owning Call of Duty will really mean for how those games are sold, accessed, and played. The acquisition’s ripples on Activision Blizzard development itself won’t be felt for a few more years, but the ecosystem strategy will begin almost immediately.

Which brings us back to all those rumors of Hi-Fi Rush and Sea of Thieves coming to Switch or PlayStation. McWhirter says that, despite what naysayers online might suggest, Xbox bringing these current-exclusives to its competitors actually benefits Xbox more than Nintendo or PlayStation. “There are signs that Hi-Fi Rush underperformed relative to Microsoft’s expectations in terms of its impact on Game Pass subscriptions growth and engagement and full game downloads. Releasing a late port to, say, the Switch, makes continued development of titles like it more sustainable while securing timed exclusivity on Xbox while adding value to Game Pass.

“Sea of Thieves has already been on the market for six years and continues to be one of Microsoft’s most successful live service titles after Minecraft, with higher peak and average MAUs compared with Halo Infinite. Putting it on other platforms should help it reach new highs and its age and pre-existence on PC suggests it has long outlived its usefulness in selling Xbox consoles.”

The analysts I spoke to agree that a strategy of curated, timed releases of former-exclusives on Nintendo and PlayStation consoles makes a lot of sense for Xbox, and further bolsters its own philosophy of putting its games wherever players happen to be. And no, vocally pro-exclusive audiences on social media likely won’t deter them if there’s a significant advantage to be had, especially if that audience has already enjoyed a period of exclusivity.

But Game Pass on Switch or PlayStation, analysts say, would be a bridge too far. Rather, both van Dreunen and McWhirter expect Xbox to launch a mobile Game Pass service – McWhirter says it could happen as soon as this year – especially in the wake of the Activision-Blizzard deal:

“Because gaming is increasingly online and based on multiplayer gameplay, I expect platform holders to broker deals that would allow greater circulation of content between devices and ecosystems,” van Dreunen says. “My expectation is that Xbox will try to launch a mobile Game Pass service to reach billions of mobile gamers and deliver on its ambition to reach 100 million subscribers for its Game Pass service. Before ABK/MSFT it had little access to this audience. Even so, there will be specific differentiators between platforms like exclusives, pricing plans, and bundles. But it seems idiotic that I cannot play the same online game on every device in the same way that I can call anyone regardless of what telecom provider they use.”

The Xbox Series X and S might be at a “growth” phase in their life cycles, and 2024 might herald something that looks like growth if even a handful of Xbox’s 23 game development studios are ready to smash exclusives out of the park. But the real growth Xbox seems to be banking on remains its gaming ecosystem, centered around Game Pass and xCloud, reaching as many devices as possible. Xbox is dreaming of a future in which the “Xbox audience” isn’t just the people who own Xbox consoles, but contains Switch owners, PlayStation owners, mobile gamers, and more — all of them playing Xbox games. In the coming year and beyond, we can be on the lookout for mobile Game Pass, Game Pass on smart TVs, a curated selection of former Xbox exclusive games on rival consoles, and several more strands spun into the encompassing gaming web that Xbox has been steadily crafting for nearly a decade now.

It remains to be seen whether or not that ecosystem will, or can succeed, and whether or not that success depends on exclusives. We won’t find out in 2024, but if we’re all playing the latest Halo on a smart fridge in 2040, I’m sure we’ll have something spicy to say on social media about it.

Rebekah Valentine is a senior reporter for IGN. Got a story tip? Send it to rvalentine@ign.com.

Until Dawn Film Adaptation Is in the Works With Shazam!, Lights Out Director David F. Sandberg

Another well-known horror game is getting the big screen treatment. This time, it’s Supermassive Games’ 2015 release Until Dawn.

Sony Pictures has confirmed to IGN that the movie adaptation of Until Dawn will be directed by filmmaker David F. Sandberg, who previously directed horror hits like Lights Out and Annabelle: Creation, as well as DCEU films Shazam! and its sequel Fury of the Gods. Gary Dauberman, who’s worked on horror series including It, Annabelle, and The Nun, is doing the latest pass on the script written by The Invitation’s Blair Butler.

THR first reported the news. It’ll be developed by Sony Pictures’ Screen Gems as well as PlayStation Productions.

“As our partnership with Sony Pictures continues to grow, we’re thrilled to be working on our first movie with Screen Gems. Until Dawn is a fan favorite PlayStation game that we can’t wait to bring to the big screen,” Head of Product, PlayStation Studios and Head of PlayStation Productions Asad Qizilbash said in a statement.

Released as a PS4 exclusive, Until Dawn is a choose-your-own-adventure horror game developed by Supermassive Games. Set on a snowy mountain, players control eight young adults who must survive the night. Like some of Supermassive’s recent games in The Dark Pictures Anthology or 2022’s The Quarry, who survives and how the story unfolds in Until Dawn is determined entirely based on the player’s choices.

In our review of Until Dawn, we said: “Until Dawn is an inconsistent horror game, but it’s still a heck of a lot of fun.”

Until Dawn is the latest IP from PlayStation’s catalog to get adapted for film or TV. Other PlayStation adaptations include The Last of Us, Twisted Metal, Gran Turismo, and Uncharted. The news also comes one day after it was announced that LKA’s psychological thriller Martha Is Dead is getting adapted into a feature film.

Taylor is a Reporter at IGN. You can follow her on Twitter @TayNixster.

Xbox Insider Release Notes – Alpha Skip-Ahead (2408.240114-2000)

Hey Xbox Insiders! We have a new Xbox Update Preview releasing to the Alpha Skip-Ahead ring today.

It’s important we note that some updates made in these preview OS builds include background improvements that ensure a quality and stable build for Xbox consoles. We will continue to post these release notes, even when the noticeable changes to the UI are minimal or behind the scenes, so you’re aware when updates are coming to your device.

Details can be found below!

Xbox Insider Release Notes

System Update Details:

  • OS Version: RS_XBOX_DEV_FLIGHT26029.1004.240114-2000
  • Available: 2 p.m. PT – January 17, 2024
  • Mandatory: 3 a.m. PT – January 18, 2024

Fixes Included

Thanks to all the great feedback Xbox Insiders provide and the hard work of Xbox engineers, we are happy to announce the following fixes have been implemented with this build:

System

Known Issues

While known issues may have been listed in previous Xbox Insider Release Notes, they are not being ignored! However, it may take Xbox engineers more time to find a solution. If you experience any of these issues, we ask that you please follow any guidance provided and file feedback with Report a Problem.

Audio

  • We have received reports of users experiencing intermittent issues with audio across the dashboard, games, and apps. If you have experienced issues, be sure you have the latest firmware updates for your TV and other equipment. If you’re unsure, you may need to contact the manufacturer for assistance.
    • Note: If you continue to experience issues after applying the latest firmware updates, please submit feedback via Report a Problem immediately with the “Reproduce with advanced diagnostics” option, then select the category “Console experiences” and “Console Audio Output Issues”. Be sure to include as much information as possible:
      • When did the issue start?
      • Did you lose audio just in the game/app or system audio as well?
      • Does changing the audio format resolve the issue? If yes, what was the format before and after?
      • Does rebooting resolve the issue?
      • What does your setup include? Equipment, layout, etc.
      • And any additional information you can provide to reproduce the problem.

Networking

  • We are investigating reports of an issue where the console may not connect to their network as expected on boot. If you experience this, be sure to report the issue via Report a Problem as soon as you’re able.

System – Profiles

  • We are aware recently added profiles may be removed after restarting the console, and a fix is coming in a subsequent update.
  • Workaround: While signed in, open the guide then navigate to Profile & system > Settings > System > Access restrictions > Access restrictions options then disable the Delete profiles on sign out option.

As always, be sure to use Report a problem to keep us informed of any issues you encounter. We may not be able to respond to everyone, but the data we’ll gather is crucial to finding a resolution.

What Happens to Your Feedback

If you’re an Xbox Insider looking for support, please visit the community subreddit. Official Xbox staff, moderators, and fellow Xbox Insiders are there to help with your concerns.

When posting to the subreddit, please look through the most recent posts to see if your issue has already been posted or addressed. We always recommend adding to existing threads with the same issue before posting a new one. This helps us support you the best we can! Also, don’t forget to use “Report a Problem” before posting – the information shared in both places helps us understand your issue better.

Thank you to every Xbox Insider in the subreddit today and welcome to the community if you’re just joining us! We love that it has become such a friendly and community-driven hub of conversation and support.

For more information regarding the Xbox Insider Program follow us on Twitter. Keep an eye on future Xbox Insider Release Notes for more information regarding your Xbox Update Preview ring!

The post Xbox Insider Release Notes – Alpha Skip-Ahead (2408.240114-2000) appeared first on Xbox Wire.

Call of Duty: Warzone’s Latest Update Seems to Have Mostly Broken the Game

Call of Duty: Warzone players excited to jump into Season 1 Reloaded are running into new issues that are leaving the game almost unplayable.

The Season 1 refresh update dropped for all players today, bringing new cosmetics, multiplayer maps, changes to the Zombies formula, anti-cheat improvements, and more across the entire Call of Duty experience. They’re enticing additions that many battle royale fans aren’t getting to enjoy. Those who hop into the open-world FPS mode are being met with intense visual and gameplay glitches if they are able to make it into a match at all.

Social media sites like X/Twitter are already filled with clips and reports of lackluster experiences. A notorious clip making the rounds sees streamer Fifakill struggling to move at all after attempting to open the “Create a Class” menu.

The issues don’t stop at Create a Class. Fifakill also shared a clip on X/Twitter that shows off what can only be described as a strange dent in the Urzikstan map where there wasn’t one before.

Terraformed map sections might be funny to some, but others have found themselves unable to access Loadout Drops, too. Streamer MerK and players with them found that the Precision Airstrike Killstreak is no longer notifying nearby players when activated.

It’s a warning that could mean life or death for a squad, but it’s also only an issue you need to worry about if you’re actually able to enter a game. X/Twitter user Kaitlyn Smiles, as well as many others, are finding themselves caught in a loop that restricts access to even something as simple as the main menu.

Call of Duty: Warzone developer Raven Software is used to making changes on the fly but has yet to announce when a fix for today’s Season 1 Reloaded issues will arrive. However, the team has reported that the Loadout, geographical distortion, Killstreak notification, and main menu loop bugs are being looked into.

Call of Duty: Warzone was previously meant to bring Weapons Cases and Covert Exfil’s to the experience before Raven decided to delay the features due to negative fan feedback. No information on when those features will make their way to players has been revealed.

Michael Cripe is a freelance contributor with IGN. He started writing in the industry in 2017 and is best known for his work at outlets such as The Pitch, The Escapist, OnlySP, and Gameranx.

Be sure to give him a follow on Twitter @MikeCripe.

A wholly subscription-driven games industry would be “savage”, says Larian CEO

Larian CEO Swen Vincke has been reading Ubisoft director of subscriptions Philippe Tremblay’s thoughts from yesterday about how players need to “get comfortable” with renting their games as a package, rather than “having and owning” an individual copy. His broad takeaway is: that ain’t it, chief. In a social media thread today, Vincke wrote that “it’s going to be a lot harder to get good content if subscription becomes the dominant model and a select group gets to decide what goes to market and what not”. He feels that “direct from developer to players is the way”. As such you shouldn’t expect Baldur’s Gate 3, Divinity: Original Sin 2 or any other Larian RPGs to join the Game Pass bandwagon anytime soon.

Read more

Feature: Bandle Tale – Exploring The “Least Developed Parts” Of The League Of Legends IP

“I think this is the first time we’ve ever let a player self-insert into one of our games”.

Last year was a busy one for Riot Forge, which published three solid, indie-developed games set in the expansive Runeterra universe (The Mageseeker, Convergence, Song of Nunu), each featuring totally unique art styles and gameplay. Now the company is turning its attention to its 2024 slate, which will kick off next month with the adorable Bandle Tale by Lazy Bear Games.

Read the full article on nintendolife.com

How Prince of Persia: The Lost Crown Builds on Rayman’s Platforming Legacy 

Prince of Persia: The Lost Crown launches tomorrow, January 18, for Xbox One, Xbox Series X|S, and PC, and is available now with a Ubisoft+ subscription or for purchasers of the Digital Deluxe Edition. Prince of Persia: The Lost Crown is an adventure inspired by Persian mythology and the Metroidvania genre, in which players step into the boots of Sargon – the youngest member of Persia’s most elite warriors, the Immortals – and brave the dangers of the mysterious Mount Qaf on a journey to save the kidnapped Prince Ghassan. Wielding acrobatic parkour abilities, mystical time powers, and fluid, combo-driven sword skills, Sargon discovers a world shattered by a time curse, where he’ll battle sand zombies, screen-filling monsters, and even alternate versions of himself. 

Prince of Persia: The Lost Crown was developed by Ubisoft Montpellier, the studio behind Rayman Origins and Rayman Legends – and some of those games’ DNA persists in Sargon’s adventure, particularly when it comes to platforming. Like Rayman and crew, Sargon has a certain rhythm and bounce to his movements that helps make exploration a blast, and a lot of his time is spent navigating deviously designed platforming sequences that dare players to thread their way through gauntlets of spikes and traps with increasingly less room for error. To find out more about this connection, and how Ubisoft Montpellier’s experience on the Rayman games helped shape Prince of Persia: The Lost Crown, we spoke with Game Director Mounir Radi. 

Rayman Origins, Rayman Legends, and Prince of Persia: The Lost Crown are obviously very different games, but is it fair to say the Rayman games were a starting point or reference for The Lost Crown? 

For the platforming aspect, yes; not for the combat. Those two things are quite different, but for the platforming aspect, the flow, we are talking about how to convey the weight of your character and the musicality. When we are talking about level design and the way you progress through levels, I like to compare Rayman and Prince of Persia to musical partitions, and this is where we used our expertise the most in mastering the flow of progression. 

Some developers tend to build a game before a toy, and we took a lot of time to make a toy first. Before having Sargon and his animation, we worked with just a capsule. Sargon was, for one year, a capsule – and yes, it was super weird! But if you establish a good weight, a good flow, and a good feel with the capsule first – and then bring the animation, the VFX, and the background, you can upgrade this feel in phases. If it’s the other way, you might miss something.  

We took a lot of time after that to try to figure out how to convey Sargon’s weight, and to think about his physicality. The weight, for me, is the whole thing, and we took a lot of time figuring out the lengths of specific animations to convey it – sometimes it was just about one frame. One frame, I swear it! We were like, “One frame! No, remove this frame!” We were jumping, bouncing. And it was super-important, because while this approach is super-demanding, it pays off in the end. 

Speaking of weight – what do you need to do differently to communicate the weight of a cartoon character like Rayman, versus a more anime-inspired hero like Sargon? What needs to be different about how they move? 

You know, when you deal with a character who has no arms and no legs, you are not exposed to the uncanny valley. Your brain can accept everything; Rayman is using his hair to fly, and that’s OK. But when you are playing with Sargon, you are in semi-reality. You are expecting specific things from his movements. Sometimes you can trick players, but you have to do it step by step, and use specific references that players may know, so they can accept new things.  

Sargon is an Immortal; he’s part of a specific world-building logic. Even if it’s mythological, people have weight, so when we were working with our animators and VFX team, and even with the 3D models, we took a lot of time to find the right balance. It’s during special abilities, like when you parry, when you are using fancy executions, and when you use your Athra Surge abilities, that you reach the highest point of spectacularity, of superheroic capacity. During this, we bring in these flashy colors, which is our way to indicate that you just unleashed a super ability, and you performed it the right way – because these are not something you can perform without a challenge. To perform an execution, you have to parry; to perform an Athra Surge, you have to build up your gauge. 

So we used fighting games as a reference, like Super Smash Bros. or Street Fighter, because in those games, there’s purity in the balance between each attack; one attack, one function. That’s why there’s one button in Prince of Persia: The Lost Crown for attacking. 

Musicality in the Rayman games and Prince of Persia: The Lost Crown is something you’ve spoken about previously, with the idea that platforming has a clear rhythm. How does that affect the shape the level design takes? How do you find a beat that works consistently?  

It’s about foreshadowing the path for the players. We used the camera to ensure that the path is super-readable, and made sure that the blocking elements of level design present a specific variety. Imagine that you’re on the ground and you have to go upward; in some games, you’d jump three times to rise three levels, so it’s hitting the same button three times – pam, pam, pam! The same button triggers the same sound, the same animation, the same VFX. That can cause fatigue, and we tried to manage this fatigue – to bring short notes, long notes, and to be sure that players have the ability to create a partition.  

Level design offers different ways to create different partitions, and it involves a lot of iteration, because sometimes you have friction.  Wwhen you see people being exposed to a challenge for the first time, and you know that they are in the zone, and they are able to pass the challenge, that means that you got it right. That means that you took enough time to train them before, so that they could absorb the mechanics – and that now, with their reflexes, they can predict the path. They have the ability to stay in the flow. 

One clear callback to the Rayman games is the Xerxes Coins, which echo the Skull Coins in Rayman Origins and Legends. They float in midair close to hazards that can often be very challenging to navigate, and players need not only to grab the coins, but to land safely in order to claim them. Have the developers always had that affinity for this kind of very tight “splatforming,” or is it something that developed over time? 

It was right from the beginning. When you’re talking about exploration, people are free to experiment with different abilities in this world. So sometimes, when you have a specific path and you give players some tools, you cannot control how they beat that path, even if there’s a specific challenge. By offering them Xerxes challenges, we were more in control. We were saying, “you have to beat it like this, to play it like this, in order to play as intended.” That was our way to get players to play specific notes in a place where they’re aware of the composition. They can use the same attacks, they can use the same amulets, they can use the same abilities to progress, but when we use Xerxes challenges, we are telling our players to play with these specific conditions or elements. 

Prince of Persia: The Lost Crown has a few superficial similarities with Rayman in terms of combat – the feel of the aerial slam attacks, for example – but The Lost Crown’s combat is much more elaborate and responsive, in a way that’s rare even for Metroidvanias. How did that new approach take shape? 

First and foremost, before even going into the Metroidvania genre, we wanted it to be a Prince of Persia game. In Prince of Persia, when you venture into the world and fight against enemies, colliding with enemies is not a danger. In a lot of Metroidvanias, enemies are obstacles: if you touch them, you’ll take a hit. But that was not what we wanted to achieve here, because for me, Prince of Persia is about experimentation.  

In the previous games, and even in the Sands of Time trilogy, the choreographic aspect of the combat was animation-driven: You press a button, you execute an animation. Sometimes it’s a flowy animation and an execution, but there’s a balance between execution and spectacle. To make sure that this new choreography is in the hands of the player, we wanted to be sure that the game is super-responsive. So the choreographic aspect is back, but now it’s the player doing their own choreography with the toolsets we give them. 

This is a new approach, and one intended for fairness – but also because if a player uses a defensive mechanic like a parry, dodge, or even a jump, it could cancel any animation. And that was the beginning, because this is less a vertical approach to game design, and much more of a horizontal approach to game design: Give them toolsets, amulets, and special abilities, and they can compose their own playstyle. I think that’s part of the legacy of Prince of Persia, of respecting players’ cleverness. This is authored gameplay, and players are free to compose, to create, to build their own choreography.  

Prince of Persia: The Lost Crown launches on January 18 for Xbox One, Xbox Series X|S, and PC – and players with a Ubisoft+ subscription, or who purchase the Digital Deluxe Edition, can start playing Sargon’s adventure right away. Secrets and danger abound throughout Mount Qaf – along with plenty of opportunities to push your combat and platforming skills to the limit – so get ready to explore, battle, and see just how warped a time-cursed mountain citadel can become. 

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$49.99

Pre-order to get an exclusive in-game Warrior Within outfit!

Dash into a stylish and thrilling action-adventure platformer set in a mythological Persian world where the boundaries of time and space are yours to manipulate. Play as Sargon and evolve from sword-wielding prodigy to extraordinary legend as you master acrobatic combat and unlock new Time Powers and unique super abilities.

UNLEASH YOUR INNER WARRIOR
Use your Time Powers, combat, and platforming skills to perform deadly combos and defeat time-corrupted enemies and mythological creatures.

LOSE YOURSELF IN THE PRODIGIOUS MOUNT QAF
Discover a cursed Persian-inspired world filled with larger-than-life landmarks and explore a variety of highly detailed biomes, each with their own identity, wonder, and danger.

LIVE AN EPIC ADVENTURE
Immerse yourself in a Persian mythological​ fantasy through an intriguing and original story as you use your wits to solve puzzles, find hidden treasures, and complete quests to learn more about this corrupted place.

This game leverages Smart Delivery allowing access to both the Xbox One title and the Xbox Series X|S title.

The post How Prince of Persia: The Lost Crown Builds on Rayman’s Platforming Legacy  appeared first on Xbox Wire.