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Oddworld: Munch's Oddysee Oddworld: Munch's Oddysee is an action, adventure, strategy and puzzle game developed by Oddworld Inhabitants. Schein Schein is an indie, action, adventure and puzzle game developed by Zeppelin Studio. It says a lot for the playability of the game that despite all this it still earned a place in the all-time greatest platform game hall of fame. Fast-forward to Despite our onginal trepidation, it's looking genuinely brilliant, with all of the elements that made the onginal great and none of the hair-tearing frustration.
Even better, we have a preview copy Ubisoft Montreal, the development team behind The Sands Of Time, very obviously made a few important decisions before starting work on this title, for this is a platform game unlike any other. The stop-start-run-die gameplay of old has been replaced with a far more thought-provoking experience, in which you are faced with a set of puzzles and given time to think about how to overcome them and, more importantly, are never unfairly punished for getting them wrong.
The sheer simplicity of such an approach is a miracle in itself, and you have to wonder if the platform genre would have disappeared as quickly on the PC had this approach been adopted before. Foremost among the devices used to ease frustration is the rewind function.
Using the power of a magical dagger, this ability enables you to literally turn back time in the game, retracting any disastrous movements and allowing you to escape certain death. It may sound cheap, removing some of the inherent challenge of the gameplay, but in practice it works brilliantly. For one thing, the device is not unlimited, and you can only manipulate time when you have some of the eponymous sands of time stored in your magical dagger.
Better still, the rewind function actually looks great as well, adding a nice cinematic feel to proceedings. Apart from rewinding short bursts of gameplay, you can use your trusty time dagger to slow down or accelerate the speed of the game at crucial points, like when you have to evade a nasty set of spinning death-blades.
This adds new elements to the gameplay and variety in how you approach dangerous situations. Indeed, the entire game is geared towards making you think about the problems ahead of you, instead of worrying about exactly timing a running jump. As a result, even the most cack-handed of gamers should have no problem making progress in The Sands Of Time. Whether this ultimately makes the game a bit unchallenging is uncertain.
The emphasis, as we've said, is on thinking your way out of situations rather than sheer manual dexterity; on solving the game environments rather than merely coping with them.
The combat is also great fun, though again the watchword is simplicity. So you can leap over an opponent's head and slash him on the way down with a simple attack-jump key combo, but you might land in the middle of three other enemies ready to gut you. The gameplay is so fluent and the controls so intuitive, you can run confidently from one part of a level to the next without worrying about falling into a giant hole, which some clever- clogs programmer put there to display his sense of humour to the world.
There are pits, but you can see them before you get to them. There are traps, but you can see them before you plunge headlong into them. There are enemies, but you always spot them in advance, giving you a chance to prepare yourself mentally when you notice a huge mass of them standing together nodding knowingly in your direction. Help in difficult situations also comes in the form of Farah, a wily and seductive princess who becomes your unwilling partner in crime.
She can even pick off a couple of baddies while you catch your breath and prepare yourself for another scrap. The Sands Of Time may well be a work in progress, with a few finer details yet to be ironed out, but if the current build is any example of what the finished game will be like, we say bring it on.
The character animations are superb, the game world is lavish and well-realised, and the all-important gameplay is fun with a capital. In fact, this could be the first truly great platform game on the PC for years.
Look out for the full blow-by-blow review next month for our final word on this potential classic. Well, you knew this one was going to be in there, right? The difference with SOT is you are not punished for bad timing.
There's no need to position your character to make pixel-perfect leaps, so the time-honoured platform tradition of making you repeat jumps over and over each time you die does not exist in this game. Knowing when to jump is important. Figuring out where to jump is important. It really is that simple, and it's this approach to game mechanics that makes SOT such a joy to play.
Thinking man's platform game? You got it. Navigating ledges is one of the most dreaded aspects in platform games. In SOT it's easy as pie. There is no danger of falling off. Even when you try to cock things up royally, the prince will often cling to the nearest ledge, giving you a second chance to climb back up and find another way round the problem.
It's another example of the game encouraging you to think of what to do next, instead of how to do it. It's safe to say this is one of very few platform games that doesn't adhere to the opinion that difficult key combinations are the only way to provide a challenge. Many of the puzzles in the game require you to navigate areas in which the environment is falling to pieces around you.
Often you are given visual clues as to where to go via cut-scenes, but sometimes you can tell just by watching changes in the landscape. Climbing up, down and around parts of the landscape is a huge part of the game. Again, the game never punishes you for getting things a bit wrong, unless you do something really stupid and just leap blindly into the abyss, in which case death is pretty much what you deserve. Yes, you can run along the walls, as well as up the walls, something you'll find yourself doing a great deal - even when it's not strictly necessary.
You can also spring off the wall at any point, hurling yourself across yawning gaps in precarious undie-soiling fashion. The seamless fluidity of the animation is at its best in scenes like these, indeed the animation is so good in SOT you'll often find yourself slowing down time just to admire the view a bit more closely. It's really that good. The latter event may not have grabbed the headlines, but 14 years on the all-new Prince is hogging a lot of pages.
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