Introduction Theories of modern narratives suggest that there is always a link between two or more products of art with similar storyline (Denzin 1991). Principally, it is the plot that remains the same in many of the productions. This kind of theory has remained true to its billing as many of the artworks are found to remain the same even if some fleshed is added or removed from the original work (Martin, 1986; Denzin, 1991). In other words, the skeleton of the story remains even if flesh has been removed or transformed to target a different category of audience (Galinanes 2000, p.87). Prince of Persia Game and Film are some of the productions that were produced within the context of this theory. This paper provides a critical analysis of The Prince of Persia: The sands of time (the game and the film), with the help of three act structure. The three act structure is useful as it subdivides the story into analyzable portions, hence the critical review of ideas in the movies and related games. The Act Set-up: the Inciting incident It is can be noted that The Prince of Persia film is an adoption of a similar game that was primed in 2003. In the game, the unnamed prince faces various forms of dilemma and conflicts, with which he must make critical decision to sail through. In this game, it begins with a set of episode, where the lead personality in the act, Elika, the King’s daughter had previously died. However, the father’s love for her daughter leads him to begin a negotiation with the god of darkness that had the ability to restore her life back. The god of darkness wants his wish; that the king must free Ahriman from his long term imprisonment. By doing so, the king would be sacrificing himself and the entire world, just to get her daughter’s life back. In the film version, the Prince emerges as the adopted son of the King, by the name Dastan. The prince finds himself in the thick of conflicts when he struggles to restore his honor as the King-in-waiting and save the magic dagger from the rest of other destructive people. Dastan faces false accusation of killing his father, and he has to fight to remove this notion among the people. On his side is the Princess Tamina, who is well more conversant with the mystery and ability of the dagger to protect the universe from evil forces. In fact, the beginning indicates conflicts of interests between the adopted prince and the King’s real sons. This borne of contention remains the dagger, which is believed to have the ability to rewind the past. In other note, Dastan believes that no one trusts him apart from the King’s brother. This level of mistrust leads the prince to act in an uncharacteristic manner- absconding so as to justify his innocence, and to prove that his brothers were the real criminals in the process. This kind of dilemma illustrates the plot of the whole storyline, with conflicts of interest and disagreements all revealed in both the game and the film. The game has the king pleading with the god of darkness to restore his daughter’s life. On the other hand, the god of darkness demands his wish to be accomplished by the king. In the film, the situation is the conflict of interests between the adopted son of the king, Prince Dastan an