Summary of "A Defence of Prince of Persia: The Two Thrones | Longform Review"

Verdict (concise)

Prince of Persia: The Two Thrones is a mixed but playable finale to the Sands of Time trilogy. Strong, fun gameplay—especially the stealth and parkour—and the Dark Prince concept lift the experience, but the story, setting use, and some execution feel safe or undercooked. If you play for movement, combat, and the series’ tone, it’s worth playing; if you want a deep, polished narrative or a richly used Babylonian setting, temper expectations.

“a 5 out of 10 story”

(The reviewer explicitly scores the story at roughly 5/10.)

Main features & mechanics

Dual-wield combat
- Dagger of Time is the primary weapon in this entry; swords, maces and scimitars can be used off-hand.
- Off-hand weapons and enemies can be thrown off ledges.
Stealth additions
- Automatic stealth when unseen, with fast movement preserved while sneaking.
- Dagger-activated quick-time stealth kills. The reviewer called this “still some of the best stealth mechanics I’ve ever seen.”
Dark Prince mode
- Recurring alternate mode/personality that appears periodically (roughly every half hour).
- Amplifies combat (chain-based area attacks), doubles traversal distance (chain leverage), slowly drains health (sand pickups restore life).
- Has a distinct, entertaining voice/personality that taunts the Prince.
Platforming / parkour
- Retains and refines acrobatic movement: new moves, chain swings, narrow-gap mechanics.
- Boss fights integrate parkour more frequently than in past entries.
Boss fights
- Generally varied; many are designed to leverage acrobatics and environment.
- Some traditional encounters feel tougher or less polished (one notably hard lieutenant fight mentioned).
Vehicles and spectacle sequences
- Breakneck chariot runs and fast water-ride segments provide memorable spectacle.
Progression items and upgrades
- Health upgrades via fountains and trap-circuit challenges; these are criticized as less interesting than earlier games.
Narrative devices
- Return of the Prince’s monologues and original voice actor; there is also a narrator and the Dark Prince voice, creating three narrative voices at times.

Pros (what the reviewer liked)

Stealth system: automatic, fluid, and fast—very well implemented.
Dark Prince: a strong mechanical twist with exhilarating traversal boosts and a well-written/acted voice.
Parkour and platforming: excellent and among the trilogy’s best acrobatic sequences.
Boss design: benefits overall from integrating movement and environment.
Voice acting/monologues: return of the Prince’s monologues adds charm and personality.
Several memorable set-pieces: chariot runs, water sequences, visual dagger animations.
Strong character banter in moments (notably Prince/Farah interactions and Dark Prince taunts).

Cons (criticisms)

Story: simplistic, safe, and underdeveloped (explicitly rated ~5/10 by the reviewer).
Overuse / poor use of narrative voices: Prince, Dark Prince, and a narrator create redundancy and “traffic jams” in storytelling.
Setting wasted: Babylon is a promising premise that isn’t mined emotionally or narratively; environments can feel repetitive (rooftops/alleys) rather than personal.
Underused characters and relationships: Farah rarely accompanies gameplay and is often separated; Kaileena is mainly a plot device; missed chances to explore the Prince’s home/family.
Inconsistent boss execution: some fights feel hollow or buggy; one late lieutenant fight is very difficult due to lack of sand.
Overly cinematic / “Hollywood” spectacle in places, at the expense of quieter, affecting moments the series can do well.
Bugs and distracting graphical/glowy effects reported.
Pacing and payoff issues: emotional highs are sometimes undercut or poorly timed (example: an undeserved city celebration).

User experience notes

The core gameplay loop (platforming + combat + stealth) is satisfying and allows flexible playstyles.
Stealth enables bypassing heavy fights without slowing movement.
Dark Prince play is thrilling but risky—the health-drain mechanic requires careful sand management.
Some sequences have wonky camera or unclear puzzle signaling; certain bosses require many extended attempts.
The game returns to trilogy tropes (rescue-chases, time-meddling consequences) but lacks the emotional impact of Sands of Time.

Comparisons with other entries and contemporary games

Sands of Time: considered the emotional high bar. Two Thrones reuses motifs but rarely matches the first game’s storytelling depth.
Warrior Within: Two Thrones tries to reconcile the first game’s tone and Warrior Within’s darker overhaul; the reviewer finds the result lukewarm compared to either.
Assassin’s Creed Origins: used as a contrast—Origins builds authentic historical environments, whereas Two Thrones’ Persia/Babylon is more decorative and less immersive.
Community reception: generally scores fine on Metacritic but is often seen as the least beloved entry compared to Sands of Time and Warrior Within.

Concrete score / overall assessment

Story: ~5/10 (explicit).
Overall tone: “mixed bag” — gameplay and mechanics are improved and memorable, but the story feels commercially safe and undercooked.
Recommendation: Recommended for players who prioritize movement, stealth, and unique combat gimmicks or for fans of the trilogy. Less recommended if you want a thematically deep conclusion or rich historical worldbuilding.

All unique points mentioned (compact list)

Starts in Babylon: homecoming premise that’s emotionally underused.
Dagger of Time becomes the primary weapon.
Offhand weapons remain usable and throwable.
Automatic stealth tied to visibility; movement speed preserved while sneaking.
Stealth kills are dagger-initiated quick-time events.
Dark Prince mode reappears regularly and enhances traversal via chain swings / “power cores.”
Dark Prince slowly drains health; sand pickups restore health.
Dark Prince’s personality/dialogue is a highlight and creates an antagonistic inner voice dynamic.
Platforming additions: dagger plates, narrow gaps, stable chain-wedges, spring platforms (some lack in-universe justification).
Boss fights include parkour-enabled arenas (an improvement over larger static arenas).
Fountains / trap circuits return for health upgrades but feel less inspired.
Vehicle sequences (chariot runs, fast water segment) are memorable but can feel gimmicky.
Return of the Prince’s monologues and original voice actor adds charm.
Narrator + Prince + Dark Prince create overlapping narrative voices.
Farah is present in the story and emotionally changed (doesn’t remember the Prince due to timeline); she rarely physically accompanies the player.
The Vizier returns as antagonist; his immortality and plan reintroduce the Sands threat.
Several lieutenants/bosses are story-targeted (some work well, some don’t).
Visuals: beautiful dagger-sand animations and set pieces contrast with bland/repetitive environments.
Bugs and occasional camera issues reported.
Final act: Prince accepts limits and represses the Dark Prince—conclusion framed as release and maturity.

Community context / different views

General community view: Two Thrones is usually not the most beloved of the trilogy; Sands of Time and Warrior Within are more often favored.
Stealth mechanics divide opinion: some players dislike the change; the reviewer praises it as among the best stealth mechanics.
Metacritic: the game “scores well” overall, despite many fans considering it the weakest trilogy entry.