In addition to this, each move across the world map progresses the in-game time a little further ahead, eventually leading into the next day. Each time you begin your journey (and there will be several of those at least, but more on that later) the map is randomly generated, confronting you with different obstacles and benefits. This is where Crowntakers begins, and there is quite literally not a moment to waste since your every move and choice can lead to drastic results. In exchange for returning his freedom and thusly bringing peace back to the land, the King offers the Hero riches and power beyond his imagination, which is always a solid motivator. The King quickly explains that he is contacting members of his bloodline to come and rescue him from his own castle dungeon where he is being held prisoner in the midst of a coup. In Crowntakers you are playing a character known simply as the “Hero”, who is wrested from a good night’s sleep in his humble home by a telepathic message from his father, the King. I was enjoying Crowntakers and, despite my occasional frustrations, I was having a pretty good time. But it was in between those two extremes, just as a sword is shaped between an anvil and a hammer, that my opinion of this title was forged. Soon afterward (and particularly when I failed) I thought about the old arcade coin gobbler Dragon’s Liar, the first game where I experienced the nose-bleed inducing anger of what is now clearly defined as “rage-quitting”. Among the first was Infinity Blade, where I originally encountered the now popular theme of playing a bloodline of characters who perpetually took up the sword and crusade of their predecessors. I made a lot of strange and entertaining comparisons during my time with Crowntakers.
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