If the character stops the CD player and now the film’s soundtrack kicks in with ambient music the character is assumed not to be able to hear, that music is said to be non-diegetic. For example, if a film shows a character listening to a song on a CD player, with the music audible to both character and audience, it is said to be diegetic.
“Diegetic” elements are those which exist inside that universe, while “non-diegetic” ones are outside. There’s a concept called “diegesis” that means the narrative universe of a work. But just as unusual as an action game in which the player character can’t die is one with a death mechanic handled within the game’s universe. The game received a great deal of attention for this fact, as I’ve referenced before. With Elika as his lifeline, it is literally impossible for the Prince to die.
The only things, in fact, that Elika lacks and the Prince provides are a sword and a gauntlet, and these are only necessary because some enemies enter modes where they will counter all attacks that are not from a sword, or all that are not from a gauntlet, during which time Elika’s magical attacks are ineffective. Take too much damage in battle, and Elika will leap into the fray to put some distance between Prince and enemy (at the cost of the enemy regaining some health of its own). Her teleportation and levitation provide the vital double-jump, as well as the safety net - fall too far, and Elika will grab the Prince’s hand and return them both to solid ground. All the climbing the Prince can do, Elika can do too. Her recent infusion of holy powers gives her magic that outclasses the Prince’s acrobatics. Tough and spirited, she is quite able to keep up with him, both conversationally and physically. In Elika, the Prince finds an equal - if not more. Producer Ben Mattes, as quoted in Every Prince of Persia Needs a Lady She has her own ideals and her own goals." It was also really important to us that she not be treated like a sex symbol or a romantic interest. “There’s this fine line where has to be strong yet sexy autonomous but have a certain amount of dependency on the Prince so that the player still feels like a hero. The Prince, lost in the storm, is trying to reconnect with her, trying to return to that simplicity. It’s a nod to the previous games, but it’s also a dig at Princess Farah’s characterization and gameplay role. Franchise veterans will recognize the name as that of the love interest from the Sands of Time trilogy - but it is soon revealed that Farah is actually the name of this Prince’s donkey, laden with the riches the Prince has recently looted. We call him “the Prince” because he has no name.) Really, the game is about (legitimate princess) Elika.Īs the game opens, the Prince is lost in a sandstorm, calling out for Farah. (He doesn’t even seem to be a prince this time. The game is called “ Prince of Persia.” But it’s not really about the Prince.
#PRINCE OF PERSIA EPILOGUE FULL#
| 30 Comments The Choice Is Not Yours: Why Prince of Persia Has The Best (And Worst) Ending In Modern Video Games WARNING: THIS ESSAY CONTAINS FULL SPOILERS FOR PRINCE OF PERSIA. The Choice Is Not Yours: Why Prince of Persia Has The Best (And Worst) Ending In Modern Video Games - Pixel Poppers Article
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