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I grew up on RPGs with turn-based battles, but I don’t play them much anymore. Too often, they’re designed for quantity over quality, leading to long strings of fights you can grind through on auto-pilot. It’s ironic, then, that Star Renegades, which applies the run-based roguelite structure of games like Into the Breach and Dead Cells to a gauntlet of turn-based RPG battles you repeat over and over again, would find a way to reinvigorate them. Tactically taxing and demanding in every moment, Star Renegades makes every turn feel like a new crossroads where the fate of the world (or at least your playthrough) hangs in the balance. Whether it elicits ecstasy or agony, it’s always exciting.

The “run” in Star Renegades is a truncated RPG quest. Your party, which begins as a trio and maxes out as a group of six, repels a multiverse-conquering invasion force. Taking a cue from Into The Breach, failing in Star Renegades prompts you to send a robot messenger to the next dimension so it can prepare to defend itself. On the journey, you move your party around world maps, level up, equip weapons and armor, learn bits and pieces about your heroes’ backstories, and, of course, fight.

Star Renegades’ RPG trappings allow its pixel art aesthetic to shine. In moving back and forth from world map to combat screen, you get to see the vibrant, colorful sci-fi world from both a bird’s-eye and ground-level view. With little room for actual narrative, so much of Star Renegades’ world and characters is conveyed through its look and feel.

Though it looks like an RPG, Star Renegades is a strategy game at heart. Every move is a tactical consideration. In combat, it’s often a matter of timing. Every turn translates to a 30-second window of time; each character has a range of attacks that take different amounts of time to complete. You can see how everyone’s moves–yours and your enemies’–will play out on a large bar at the top of the screen.

There’s a huge incentive to make sure all of your fighters attack first–enough that you’ll change your plans to be the quicker on the draw. Most attacks will also stagger their target, pushing them back on their timeline. If you push them back far enough, they won’t attack at all. Landing an attack on an enemy before they attack also causes it to “crit,” doing extra damage, staggering more, and often adding other effects. For example: One character, Senya, has a light attack that bypasses enemies’ armor and shields when it lands first. There’s a limit to how many times you can push a turn back before an enemy performs their attack, but a full turn of breathing room gives you plenty of time to do a lot of damage, so it’s worth planning around.

Keeping enemies from fighting back is also important for your long-term prospects. Every character has two life bars: health and shields. Shields regenerate after every battle, but you can only restore health on special occasions every few fights. So, more than a traditional RPG, there’s a strong push and pull between inflicting as much damage as possible and preventing any attack that might make a lasting impact.

Each of the nine characters has a unique moveset and naturally falls into a class. Their skillsets offer enough variety that you’ll find they take on specific roles depending on what combination of fighters you amass in your party. The roster isn’t as malleable as I wanted it to be, though. I found some groups to be much more viable than others, and some specific characters, like Maryadi, the “Aegis” tank, to be more or less irreplaceable. Still, there is room for experimentation and improvisation in how you combine your team’s skills, which gives you the tools you need to strategize.

It’s a lot to consider, especially when you start adding in additional considerations like elemental damage bonuses, buffs and debuffs, and other modifiers. The game diagrams how things will play out in the planning phase: The timeline shifts to reflect when an enemy will attack once you lock in a plan to stagger them. You can see arrows indicating which character or characters each fighter will hit, and highlighting someone will show how much health and shields they stand to lose. These visualizations, while helpful, can get distracting when you have a full party, though. Where many roguelites create a learning curve around muscle memory and reaction time, you build up your skill in Star Renegades by learning its many systems and how to take advantage of them.

That understanding applies just as much outside of combat. Between fights, you navigate your party around a series of board-game-like maps, not unlike the world map in an RPG. You have a limited number of moves on each map: Three sets of three moves, which are broken up by opportunities to “camp” where your party can heal and/or apply buffs for the next set of fights, and punctuated by challenging boss fights. The map clearly shows what enemies you’ll have to fight on each square and what your rewards will be for success, giving you the ability to pick a path based on what you stand to lose and gain. As with combat, there are short- and long-term considerations. You can avoid tough challenges and cruise to the boss with full health; if you do that, though, you won’t level up or get the best possible gear. If you manage to beat the boss, which is never a given, you probably won’t be able to keep up with the enemies on the next map. The only real choice, once you’re comfortable with the systems, is to take the hardest path and play well.

The biggest oversight in Star Renegades, as with most games that rely heavily on procedural generation, is that playing perfectly may not be enough. The maps, enemy placements, and rewards are randomized on every run, so you may not always get all the tools you need to succeed on any given attempt. Sometimes it’ll be obvious, like when you show up to a new world underleveled despite fighting the hardest enemies possible the round before. Other times, it’ll be more subtle, like when you reach a boss and find that certain members of your squad aren’t as capable of handling the specific challenges it imposes. It never feels great to end a run thinking you were doomed from the start.

Getting saddled with a bad run stings more in Star Renegades than other roguelites because the runs are quite long, so you invest a lot of time and energy into each playthrough. My full playthroughs up through the final boss lasted between five and seven hours apiece. That’s a lot of time to sink down the drain because of a bad roll of the dice. You steadily earn the two persistent currencies, which you use to unlock new characters and equipment, so there are incentives for playing out each run. But with only a handful of characters to buy, and only a chance of finding your new gear on subsequent runs, they are small comfort when you come off a tough beat.

And yet, I never felt apprehensive about starting over. Even with seemingly forced failures, every run I took in Star Renegades felt like a step in the right direction. Every day, on every run, I learned more about how the systems worked. I got better at picking the right gear so my characters would grow the skills that best suited my needs. Even without progress, I felt like I was getting more out of the experience.

No matter how many hours I spent in Star Renegades, every run, every battle, every turn felt like a new captivating puzzle to solve. In my experience, roguelites lose their luster when the runs start to feel the same no matter how you change things up. Even after playing for dozens of hours and having seen the vast majority of what there is to see, I never lost interest in picking apart each battle to dismantle an opponent for a turn, then another one, and another until the battle is finished. The satisfying feeling of living in the moment and conquering it never gets old.

This story originally appeared on GameSpot sister site TV Guide.​

It’s been one hell of a journey over 15 years, but we’ve reached the end of filming on Supernatural. On Thursday, Sept. 10, which marked the show’s final day of shooting, the cast and crew flooded social media with memories and special tributes to honor their time with the series. If you thought you’d finally come to grips with saying goodbye, these sentimental messages might be the thing to undo all of that.

Jared Padalecki, who plays Sam Winchester, delivered a heartfelt post that may or may not have sent us into an emotional spiral. “I write this as I head to my last day of #Supernatural… My last day with #SamWinchester,” he wrote, noting he’d have more to say later. “Obviously, my head is spinning and my emotions are stratospheric, but there’s still a bit of time left on the clock. Thank y’all SO MUCH for the incredible amount of love and support that’s been headed our way, in these final hours. It’s definitely been felt.”

Creator Eric Kripke reminisced on the first scene shot for Supernatural. Both he and Jim Beaver, who plays Bobby Singer, honored late producer and director Kim Manners in their posts.

On Wednesday, Jensen Ackles, aka Dean Winchester, posted a short video bidding farewell to the Men of Letters Bunker, which had been the Winchesters’ home for the last few years.

Misha Collins, who plays Castiel, touched on the show’s impact on his life.

Meanwhile, Ruth Connell, who plays Rowena, wrote, “We’ll meet again, don’t know where, don’t know when.”

And Felicia Day, who plays Charlie, remembered eight years of portraying the character.

Jake Abel, who plays the Winchesters’ half-brother Adam, referenced the show’s unofficial theme, “Carry On Wayward Son” by Kansas, in his tribute.

Rob Benedict, who plays Chuck, aka God, wished his Supernatural cohorts well on the last day of filming.

Briana Buckmaster, aka the lovable sheriff Donna Hanscum, shared this photo:

Richard Speight Jr., who plays the Trickster, aka the archangel Gabriel, opened up about his incredible journey on the show.

Samantha Smith, who plays Sam and Dean’s mother, Mary Winchester, shared a photo of the show’s massive cast and crew.

Julie McNiven, who plays the fallen angel Anna Milton, congratulated everyone involved in the series.

Producer/director Jim Michaels shared a few touching photos from the set.

You showrunner Sera Gamble, who served as a producer on Supernatural from 2007-2012, sent love to her former cast and crewmates.

James Patrick Stuart, who plays the Leviathan leader Dick Roman, called the experience a privilege.

Sebastian Roché, who plays Balthazar, paid tribute to his time on the show while joking about a reboot with Jensen Ackles, Jared Padalecki, and Misha Collins’ kids.

Kim Rhodes, who plays beloved sheriff Jody Mills, honored her time on the series by sharing sentimental photos and videos.

After going in hiatus amid COVID-19, production on the show’s remaining two episodes resumed on Tuesday, Aug 18. According to Ackles, those final episodes will give fans different kinds of closure.

“Episode 19 feels kind of like the season finale and Episode 20 feels like the series finale. It’s kind of a double whammy,” Ackles previously said. “There have been some adjustments made from the scripts that we were going to shoot in March to the scripts that we’re going to shoot now. We’ve had to accommodate a pandemic.”

The remaining episodes will find a reinvigorated Team Free Will working to stop Chuck (Rob Benedict) from delivering his diabolical ending, in which at least one Winchester dies. Expect plenty of familiar faces to drop by, including Charlie (Felicia Day) and Adam (Jake Abel), as we approach the end.

Supernatural returns Thursday, Oct. 8 at 8/7c on the CW. The series finale is set to air on Thursday, Nov. 19 at 9/8.

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GameSpot may get a commission from retail offers.

Marvel’s Avengers is the Incredible Hulk of video games. The rage-filled Avenger and his scientist alter-ego are the same person and yet wholly different from one another, and Avengers is similarly split between two, sometimes diametrically opposed, personalities. One is a single-player story campaign that can be emotional and thoughtful, tuned to bring you into the shoes of Earth’s Mightiest Heroes, while also spending time with them as people. The other is a multiplayer-focused live game full of huge levels where you punch all manner of enemies, without many worries as to why. Both sides work in their own way, but they never quite mesh, leaving Marvel’s Avengers a somewhat confused, haphazard game–but a fun one, despite all its inner turmoil.

Like the Hulk’s mild-mannered counterpart, Bruce Banner, the single-player story campaign of Marvel’s Avengers makes a strong first impression with its more thoughtful approach. It’s set in its own alternate Marvel Comics universe where the superheroes that make up the Avengers–Captain America, Iron Man, Black Widow, the Hulk, and Thor–are famous and beloved. You start the game as Kamala Khan, a young girl who’s a huge fan of the heroes, when she attends an Avengers celebration called A-Day in San Francisco. Soon, Kamala will become a superhero in her own right, following a terrorist attack and a tragedy that causes the Avengers to disband and spreads superpowers throughout a segment of the population. And while you’ll spend time as each of the titular team, the single-player portion of Marvel’s Avengers is really Kamala’s story, and it works because she provides it a moral and emotional heart.

But this is a superhero game, and that means there are supervillains–and they need punching. The core of Marvel’s Avengers is an action-RPG brawler, with you playing a range of characters that deliver beat-downs to Marvel creeps such as Abomination, Taskmaster, and MODOK, as well as their many robotic and human minions. You’re treated to a host of moves, which include light and heavy melee strikes, ranged attacks, hero-specific special abilities that have cooldown timers, and extra abilities triggered by using Intrinsic Energy, a resource that generally builds up over time and allows you to activate boosts for damage or defense. Combat in Marvel’s Avengers is about stringing together combos and abilities based on the enemies you’re facing, with various threats demanding that you kick them into the air to juggle them, break their shields with heavy attacks, or dodge and parry their incoming blows to defeat them.

The fighting feels akin to Marvel’s Spider-Man or the Batman: Arkham games, although the fighting in Marvel’s Avengers adds spins of its own. The longer you play and the more moves you unlock by leveling up a hero, the more options you get in a fight. Avengers has a large and varied roster of enemies, and the further you get into the game, the more often you’re made to consider how best to use your combos and superpowers to take down baddies, instead of relying on random button-mashing.

You start as Kamala on her journey to become Ms. Marvel, while she works to find and reunite the Avengers. The heroes are needed to take on the threat of AIM–a technology company that produces killer robots and seeks to imprison and “cure” anyone who displays superhuman abilities. Before long, you’re playing as each of the characters in turn as the story explores the Avengers’ emotional turmoil from their failure on A-Day and the five years that have passed since.

The strength of Marvel’s Avengers is that while every character is stamped out of the same template–melee attacks, a ranged option, special abilities, and Intrinsic Energy–they all play very differently from one another. Iron Man is more of a ranged sniper than a melee brawler, for instance, and is easily laid low if the fighting gets too hot around him. Hulk, meanwhile, gains his Intrinsic Energy from dealing and receiving damage, so you’re incentivized to wade straight into combat and smash as much as possible. Kamala gets a damage boost from using her Intrinsic Energy and unlocks additional moves that excel at knocking back and controlling groups of enemies, while Black Widow is a juggler who focuses on dishing out damage and is best at moving quickly around the battlefield to put down specific threats.

The Avengers are all different enough from one another that playing each of them can feel like hopping into a separate game, and it’s this variety that helps keep Marvel’s Avengers interesting–especially as you get into its multiplayer-focused live game portion. In the campaign, all those characters allow you to explore different thematic levels that play to each of the Avengers’ strengths, but it also causes the story to feel more disjointed. There’s enough difference in the characters that jumping from Kamala to Hulk to Iron Man over the course of a few levels is less empowering than it is disorienting. There’s a lot to know about each character, and handling each effectively takes practice and effort. Though the game dishes out character-specific tutorials, they pop up late and are optional. There’s not really an elegant way for the game to onboard you with each of the characters, so the single-player campaign starts to feel like more of an extended tutorial to get you ready for the live game.

However, the story is an engaging one, with Marvel’s Avengers digging into the character-specific conflicts that added depth to the Marvel Cinematic Universe’s take on the Avengers. It largely focuses on the relationship between the exuberant Kamala and the reluctant Banner, who’s fallen into depression and despair in the years after A-Day. In Banner, Kamala finds a superhero mentor who helps her come to grips with who she is becoming thanks to her new powers, while Kamala helps give Banner the strength to step off the sidelines when he has the ability to change the world. The relationship between Kamala and Banner, and its twisted reflection in villains George Tarleton and Monica Rappaccini, is what makes the campaign of Marvel’s Avengers work, and the time spent developing its characters makes them worth investing in.

Not everybody in the story gets an equal amount of attention, though. Iron Man’s conflict with Banner and how it affects Kamala are key elements, but Black Widow, Thor, and Captain America (who is killed during the events of A-Day) are largely ignored. In practice, the 10- to 14-hour campaign feels like it shortchanges some of the heroes to make room to cram in the Hulk side of Marvel’s Avengers: the expansive, multiplayer-focused live game.

While many of the missions you play in the single-player campaign are focused on a single hero or maybe a pair of them, by about the halfway point, they start to get combined with forays into the multiplayer offerings of Marvel’s Avengers. These are missions of various sizes that you usually take on with a team of four superheroes, either controlled by other players or filled in with AI-controlled versions of the Avengers you’ve been ranking up and customizing throughout the game. Some of these missions are single encounters in locales like AIM facilities, where you do the sorts of activities you see in other live games–fighting off waves of enemies, defending a specific spot for a set amount of time, destroying a bunch of objects such as power generators, and taking down boss characters. In the bigger, more expansive levels, missions often have multiple steps as well as optional side objectives, such as solving simple puzzles to unlock doors or locating and killing a tough enemy.

Playing with other humans especially, it’s possible to find synergies between the characters’ capabilities and their strengths and weaknesses. Iron Man and Black Widow are great at tangling up a tough enemy while Ms. Marvel and Hulk clear the crowds that fill in around them, for instance. Working together in a fight makes for some cool moments, and even with a team of AI characters, the bigger, tougher battles of Marvel’s Avengers get pretty exciting as you smartly deploy your superpowers or get assistance from one of the other heroes.

The trouble is, couched within the story campaign, these missions stand out as being a lot less focused. All the levels, even the biggest ones, are pretty homogeneous since they need to support all different characters equally. That turns them into little more than big fighting arenas that don’t play to any particular strengths. They also do a lot to kill the pace of the campaign, cutting back on character moments so you can run around big chunks of the Utah Badlands or the Pacific Northwest forest, opening up chests and fighting random battles. Marvel’s Avengers has all the trappings of a live game like Destiny 2 or The Division, with its social spaces, shopkeepers, faction vendors, and daily activities. The explanations for all these things are wedged in the middle of the campaign and, like the multiplayer missions, feel at odds with what the story is trying to deliver in its exploration of its characters.

Once the campaign wraps up, you’re left with just the multiplayer-focused side, which runs on continually throwing more challenging missions at you and gating those missions with gear requirements. All those treasure chests you open throughout Marvel’s Avengers provide items for a loot system, in which you outfit your characters with equipment that has various stats on it. The overall average of your stats determines your Power Level, which has more granular stats that determine the damage you dish out or absorb. Power also dictates which missions you can handle and how tough they are.

Like other live games, the loot chase is supposed to be the engine that drives your continued engagement–the chance at better, more powerful stuff is the reason to tune in every day or every week with your friends. On this front, Marvel’s Avengers flounders a bit. Just about every piece of gear you’ll find has interesting perks that can change the way you fight, offering advantages like defense against enemies with freeze weapons or allowing you to shrink or poison enemies as you pummel them. But it’s only at the very top of the loot grind, as you near the cap of 150 Power, that you might actually start to bother looking at the gear you’re using and what it does. Up until then, even items with good perks will get replaced in short order, since you’ll continually pick up new gear with higher Power numbers as you play. Gear also doesn’t affect how your character looks, which makes it feel even less consequential.

The good news is that the loot chase isn’t much of a loot grind. You can tear through levels at a pretty consistent clip, which keeps you from ever feeling like you’re gated from content you want to play and forced to play stuff you don’t. In the end, there’s a fairly huge swathe of activities you can take on, with varying lengths, objective types, and difficulty levels. If you want a quick 10-minute experience, you’ll have that option; if you’d rather dig in for 30 minutes or an hour, there are larger levels that can keep you busy. And the tougher they are, the more skill they demand from you in combat, and tapping into that depth is where the game excels.

But like the Hulk himself, it all feels a bit chaotic and unfocused. The loot grind is ever-present but largely not something you really need to pay much attention to. Despite a lot of objective options, all the levels are relatively similar and pretty repetitive, sending you to a lot of copied locations like AIM labs or taking place on the same couple of big chunks of desert or forest. And when four heroes are wailing on the same big boss or giant robot, you lose a lot of the nuance of dodging, parrying, and constantly considering your attack options because it’s hard to see through the confusion.

Still, Marvel’s Avengers does manage to scratch that live game itch, just like it scratches the itch for an emotional superhero story, and when its combat comes together, it can be very fun. Adventuring through the game with the different characters creates a ton of variety, which helps keep fighting a lot of the same enemies in a lot of the same environments feeling fresh. There’s a lot to master for any given character, and with six on offer in the base game and more coming, experimenting with each one is a solid draw.

The endgame does a great job of drip-feeding you additional activities as well, with each new level unlocking a newer, tougher one to go with a bunch of character-specific challenges to wrap up. The late-game Hive levels are essentially just five or six smaller missions stacked together and yet make for some very tough and varied fights and activities, especially at high difficulties. Fighting with human teammates especially can be a very good time. Whether you’re on voice chat with friends or just picking up random teammates through the game’s matchmaking, it feels good to find opportunities to help each other and work together to defeat tough foes you’d struggle facing alone. But the AI is good enough, on the whole, that you can play Avengers by yourself and stay engaged.

After 50 hours with Avengers, I’m still interested in taking on tougher combat challenges and leveling up the rest of the characters–and I’m excited to see what developer Crystal Dynamics has in store with its take on four-player “raid” content, which is coming to the game later. There’s also a lot of potential for expansions on the story side with additional characters coming to the game post-launch. They represent an opportunity for more intimate, character-driven episodes that tap into the best stuff in Marvel’s Avengers, which would be a lot more enticing than just new characters to take through the same multiplayer missions.

That interest has been marred along the way by technical snafus, though, especially of late. There were points throughout Marvel’s Avengers when bugs popped up to break dialogue, disable interaction prompts, or load in too many copies of heroes for a mission. I’ve had issues where no enemies spawn during battles, or where a checkpoint doesn’t trigger and a mission can’t advance. Most of the problems are minor inconveniences, and some seem to have lessened since a patch was released with the wide launch of Marvel’s Avengers.

In the last few days, however, my game has suffered crashes and freezes often when I’ve played, seemingly with no cause. Though other GameSpot staff aren’t reporting the same problems, posts on Reddit and Steam forums suggest I’m not alone in having major problems with the game. Sometimes I can play through a whole mission or two and even get a couple hours out of a play session, but other times, I’ll get trapped on the start menu or see the game seize up repeatedly over a short period. Usually, the solution is a full restart of my computer, and attempting to fix the issue by downgrading graphics settings and hunting down new GPU drivers haven’t alleviated the problem at all. I’ve managed to put in a lot of hours into Marvel’s Avengers over the last week or so, but in the last few days as I’ve worked through the endgame, these problems have rendered the game unplayable at times.

On the whole, I’ve enjoyed my time with Marvel’s Avengers, and if Crystal Dynamics can deal with the technical issues plaguing the game, I’m looking forward to spending time mastering the combat styles of all the characters and exploring the expansions of its story the live game has set up. At times, Marvel’s Avengers struggles to unify a thoughtful story focus with a more momentum-based, action-heavy live game system–but both have their good qualities. As with Bruce Banner and the Hulk, it’ll be worth sticking with Marvel’s Avengers to see how it might reconcile the two halves of its personality in the future to make something even better.

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Prince of Persia: The Sands of Time was released in 2003, and despite spawning a trilogy of games that continued through 2005 and spin-off titles in 2008 and 2010, the franchise is effectively dead.

Wait, that’s not how it happened. Shall I start again?

It seems that time has rewound to give Ubisoft another chance at Prince of Persia: The Sands of Time. As revealed during the publishers Ubisoft Forward digital press conference, a full remake of the 2003 hit action-adventure is on its way from Ubisoft’s Pune and Mumbai studios, reviving Sands of Time in Ubisoft’s Anvil engine with improved gameplay and an expanded story that adds to the tale told in the original.

If you missed The Sands of Time the first time around, it focuses on the titular Prince as he platforms and battles his way through a palace ravaged by the magical Sands of Time. The Prince has a couple of useful advantages, though. First, he’s incredibly agile, able to run along walls, climb crumbling structures, and leap huge gaps with parkour abilities. Second, if he blows a jump or takes too many blows from an enemy sword, he can rewind time to the moments before his demise and try a different path.

As director Pierre-Sylvain Gires explained in an interview with GameSpot, when Ubisoft looked to remake The Sands of Time, it identified areas it could improve to make the game a little easier to play than it was 17 years ago. That meant alterations to the combat–which, though acrobatic and inventive, was also cumbersome and frustrating–as well as the game’s stationary camera angles, which could sometimes make it tough to keep your eyes on the Prince or to make certain jumps.

“We knew there were some tweaks to provide for the players if we wanted to fulfill the expectation for a 2020 game,” Gires said. “So we stayed true to the story. We stayed true to the overall design of the game. However, we did improve a lot of the three C’s (character, camera, and control), because the camera was the most out-of-date, as well as the combat. So we definitely approached this remake with improving and enhancing the velocity of the Prince, and the acrobatic moves that you have to perform to go through the 40 levels. So that was our main focus–stay true to the original design, respect the beautiful story and the narration, but enhance everything that we could, from the navigation to the camera, the targeting system, and the responsiveness for the player.”

One big change, Gires explained, is the speed at which the Prince moves and navigates his environment. Players expect a higher velocity of movement out of characters than they did in 2003, he said, so movement and control of the Prince has been tuned with that in mind. Elements of combat have also been tweaked, too–in The Sands of Time, enemies will often respawn until the player manages to use the Prince’s signature weapon, the Dagger of Time, to retrieve the magical Sands of Time from the area. It’s the Sands that power the enemies, so you have to go after it if you want to shut them down for good, and Gires said the remake should telegraph that fact to players a little better than in 2003.

One thing that isn’t getting reworked, however, is The Sands of Times’ story. Ubisoft is using the original script from the 2003 game, and though the Prince’s ally, Farah, is now played by actress Supinder Wraich (The Expanse, The Strain), returning to the project is Yuri Lowenthal (Marvel’s Spider-Man), who voiced the Prince in the original Sands of Time and in a few other games in the franchise.

Dialogue has been fully re-recorded to go with motion capture performances for the remake, which sets it apart from the original. And although the new Sands of Time remake uses the original script, Lowenthal and Gires said that some lines cut from the 2003 game have made it back into this version of the game. Gires noted the addition of motion capture has changed the feel of the performances, especially the interactions between the Prince and Farah.

“There was something magic about that first game and that character has remained close to my heart,” Lowenthal said. “And so getting to go back and do it again was both exciting and terrifying, because I just had the potential to mess it up as much as I had the potential to bring something new and make it better. But just the fact that I got to do that at all is unparalleled in my career, to get to come back after so many years for another stab at something that I loved so much.”

A portion of The Sands of Time takes place in India before the game heads to 9th century Persia, and part of the work the Pune and Mumbai studios are bringing to the remake is in reimagining the art design and architecture of the original to bring it more authenticity. That was also a consideration in casting, Lowenthal said.

“That was a big conversation earlier on, because it is a different world, for the better, as far as representation in games is concerned (than it was in 2003),” he said. “And I had my own concerns going into it, but we went back to the fact that this is a remake of a very specific game. …While I was nervous, in today’s day and age, to go back to that, we agreed that because this was a remake and not a new game, that we would go back to that original part of it. Supinder is such a wonderful and talented actor and brings a strength to the role that I think, it will have the same relationship, but we’ll really update it in many ways just for her being her.”

“We definitely wanted to bring authenticity to the characters because we really pay attention to this for the production and for the players,” Gires added. “But when you’re talking about the Prince and when you’re talking about Sands of Time, when we had the chance to work with Yuri, it was quite of use. We wanted to play on the nostalgia, and Yuri’s voice in itself is actually such a trigger for that nostalgia, because of the voice, the intonation. It was straight-forward that we definitely wanted to work with Yuri, to bring the player the exact same feeling that they got in the original game.”

Prince of Persia: The Sands of Time Remake releases on January 21 for PlayStation 4, Xbox One, and PC via the Epic Games Store and Ubisoft Store.

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