My Top 10 Most Influential Games. #4: Uncharted 2: Among Thieves.

“He opened eyes. How long had he been out? The train carriage he was sat in was empty, eerily quiet. He tries to move but flinched in agony, gripping his side to the source of the pain. As he slowly moves his hand away the claret that stains his palm reveals a puncture sustained from an unknown object. A knife? Shrapnel? A bullet? With the wind piercing through the shattered windows, the cold bracing, Nate’s eyes begin to adjust to his surroundings. The wound causing significant discomfort as he struggles to regain his faculties from his hallucinatory stupor. Suddenly a crate comes tumbling through the carriage puncturing the steel doors at the rear, revealing the snow-covered rocks below. The train is vertical?! Drakes chair suddenly begins to shake, bolts loosening it falls through the gaping hole in the back. Nate clings on to the chair in front but slips, tumbling down. The metal grating slows his descent and is somehow able to cling to the frigid bars.

Drake clamours onto the underside of the carriage, heaving himself up as it sways precariously, edging closer to the ashen depths below. With a final excruciating heave Drake gains purchase onto the connecting carriage, hoisting himself up just as it begins to tilt, gravity endeavouring to punish its precarious situation. With the carriage sliding, Drake sprints desperately towards the safety of the cliff, making one final leap, clutching the blunted rock with a last gasp reprieve, struggling back up to the relative security of land. Exhaustion consumes him and laying on the glacial parapet he slips into unconsciousness, fully aware of his fortuitous escape.”

Has there ever been a better, more dramatic opening to a game? That’s rhetorical, of course there hasn’t! “Uncharted 2: Among Thieves” exemplifies everything I admire about modern gaming: the consummate union of graphics, Gameplay and story. As a kid I wanted to pursue a career as an archaeologist, not because of some habitual fascination with excavating material artefacts from a bygone civilisation. But because I wanted to be Indiana Jones. To me Nathan Drakes calamitous escapades are a modern-day equivalent to the films I grew up watching, as well as an homage to Henry Jones Jr’s fedora wearing swashbuckler. I was so smitten with the idea of navigating exotic locations in search of rare antiquities, alluring women and of course punching Nazis in face that I was devastated when I learned the duties listed above weren’t actually prerequisites for archaeology. But Uncharted assuaged this desire by revelling the irreverence of a one man bullet sponge that averts death regardless of the absurd circumstances.

Drake is the linchpin of the series, an exuberant progeny of long-time stalwart Sully who has been involved in more I’ll fated vehicular accidents than a crash dummy. He’s charming cavalier approach to archaeology and his penchant for strolling into more confrontations than Conor McGregor somehow feels more accidental rather than just a convenient Gameplay design. It’s as if Drake procured enough bad luck from breaking a window over a black cat under ladder on Friday the 13th. Nowhere is this bad luck personified more than in Among Thieves as Nate labour’s from one disaster to another. Whether it’s battling a militia in a jungle in Borneo, navigating a war ravaged Nepalese city, surviving encounters with a Tank, an apache helicopter or train derailment, Drake always finds a way of making his life more difficult. Including fighting enhanced humanoid guardians of Shangri-La, attired in Yeti disguises. Yet the story that marshals all of these illogical affairs together is just as reviting.

Like much of the Uncharted series, Among Thieves embellishes historical events to enhance its fictitious narrative. This time Drakes search concerns Venetian explorer Marco Polo’s lost fleet that supposedly journeyed to the fabled city of Shambhala, and disappeared on its return. The expedition to resolve this disappearance unfurls with ever more elaborate set pieces, with some of the most convoluted tombs, contraptions and temples this side of a game of mousetrap. With narrative transitions that seamlessly merged the story with Gameplay, to a point that I’d often be pressing buttons during cut scenes. It’s Uncharted’s deranged inflation of fact and exaggerated adventure that under the guidance of a less gifted developer would seem too fantastical to be compelling, beyond the banality of guns, explosions and effortless killing. But its the characters that keep such a verbose conceit grounded, to a point that you start to believe such emphatic events could happen. Uncharted isn’t just about Drake and his absurd parkour skills, far from it.

Nathan Drake wouldn’t have achieved “greatness from small beginnings” if not for the studious tutelage of paternal father figure Victor “Sully” Sullivan, a man of singular ruggedness that oozes the classic depiction of masculinity. Equipped with intimidating lip furniture that would make Magnum PI (ask your grandparents) feel emasculated. Dispensing sage advice and guidance to his adopted son with a raspy cadence that would make God blush!. His frank, often acerbic retorts are always a welcome distraction from the wearisome hostility Drake often stumbles into, with a style I hope to emulate when I get older. You better believe I’ll be rocking that Porn tache!

Chloe Frazier, an ex “friend” of Drakes beguiles and confuses in equal measure, functioning as the perfect antithesis to Drakes principled scruples in achieving one’s goals. Her selfish nature and greedy intent routinely conflict with Drakes, but also exposes the comparable facets of self-interest that Nate is capable of. Uncharted 2 also features the series most startlingly obvious adversary in the form of Lazarovic. With a Bond-esq scar, bald head and nondescript foreign accent, Lazarovic was never subtle. Harry Flynn was an emphatically more enjoyable foil for Nate to contend with, providing far less maniacal tedium and more dynamic annoyance. But the most resonating character of all was Elena Fisher, especially her kinship with Drake.

Elena is force in her own right: tenacious, assertive, intelligent. Capable of deflecting Drakes pithy, infantile acumen with her own witty swagger. Elena isn’t a femme fatale, an infatuation for Nate to swoon over or anything as derivative as that, she was a person. An individual of singular intent that builds a mutual report with Nate that naturally develops into an intimate relationship that feels organic. I’ve already reflected on how important Elena and Nate’s relationship is to the series in great detail so I won’t digress too much. But without this bond, Uncharted as a series would feel as hollow as a Call Of Duty game. Their romance though suitably predictable, is what really propels the narrative, that by extension influences the cinematic gameplay. Without this bond Uncharted 2 would be just another flashy, hubristic distraction that entertains, rather than endures.

Uncharted 2: Among Thieves is the game that got me back into gaming along with its predecessor “Drakes fortune, at a time when gaming was beckon far less interesting to me. It also demonstrated that a game could tell a story that was just as compelling and fun as the gameplay itself. It arguably my favourite of the series, though certainly the most inspirational. Which is why “Uncharted 2: Among Thieves” is my #4.

Ranking The Uncharted Franchise.

It’s a difficult proposition to rank the Uncharted games. There’s a subtle diversity to the tone and sometimes quality of each individual entry, making separation a rather benign convention. But my admiration for this series deems such objective analysis a worthy arbitration, for the simple fact that I get to talk in depth about my favourite subject. And just because I love this series, that shouldn’t precipitate that it is exempt from criticism. This list will consist of only the 4 primary entries in the series so sorry to those two “Golden Abyss” fans. I’m sure many of you familiar with the series will contest my views, I’m not even sure this list could be considered definitive even to me, but it is as it is, for better or worse. So in ascending order is my list of the best Uncharted games.

#4. Uncharted: Drakes Fortune.

No surprises here. Drakes Fortune is a solid if patchy entry, that lays a suitable foundation for the more polished sequels. The search for El Dorado is arguably one of the more compelling plot devices used in the series, even if ultimately the city of gold is relegated to merely a cursed artefact embellished by sustained historical falsity. It contains many of series core mechanics still retained today, and does a great job of introducing characters that only become more enduring as the series progresses. Drakes Fortune is probably the series most measured affair, that belies it’s organically compounded dynamic utilised in latter entries. You’ve also got to remember that Drakes Fortune was being developed under intense public scrutiny and a great cost to NaughtyDog both financially and to their credibility. It was a huge gamble considering the endearing success of “Crash Bandicoot”. Without Drakes Fortune this list would feel much lighter, so it deserves a great deal of respect. But ultimately it is a forgettable romp, filled with largely irrelevant villains, expeditious conclusion, innocuous and borderline irritating vehicular sections and a rather jarring finale.

# 3. Uncharted 3: Drakes Deception.

A visceral, yet crucially venerated plot disguised as a intimate psychology of the mind of Nathan Drake and the vaguely hinted demons that inhabit it. This thinly veiled premise did a stern job of introducing some beautiful, albeit erratic smattering of locations that creates a sense of adventure, as you embark on treacherous excursions that’s conclusion is unclear. Nathan Drakes obsessive determination to find the lost city is supposed to be something of considerable pertinence to him. Something he, as well as us should feel as personally invested in. Yet this endeavour didn’t resonate with any more significance than the search for Shangri La. This, from my perspective at least felt like the first entry that really struggled to retain fluency. It felt more like a series of scripted instances, randomly generated demonstrations that illustrate NaughtyDog’s whimsical imagery, compiled together to form an amalgamation of dynamic events, as though NaughtyDog worked the story around the epic set pieces. It reminds me of Shaun in “Shaun of the dead” when he is trying to make a comparison between team and meat pie. “There’s no I in team, but there is an I in meat pie.” You understand that they are trying to make a point, but you’re not entirely sure what it is? There is however more depth and definition to the primary cast.

The characterisations are still enthralling, especially between Drake, Elena and Sully. Drake is more reckless in his approach, relying on sheer will. Elena has matured, advancing her career without risking life and limb to achieve this. And Sully has progressed from the money driven, morally repressed mentor into a more wizened, paternal father figure for Drake. Though many of the overarching conversations between them are a little more tender, this exposed sentiment really helps to elevate each and every character. The same cannot be said for the rest of the cast however. Though Katherine Marlow is a formidable foil, her subordinate Talbot is redundant. His involvement with Marlow is never really explained, neither are his vaguely defined prophetic abilities. Chloe is reduced to crew member # 4, with Cutter (crew member #3) a completely disposable confederate, merely enabling Drake to escape one of the most anti-climatic deaths scenes since every Marvel movie and giving Drake someone to converse with that is slightly more interesting than a brick wall. The biggest problem is that many elements of Drakes Deception suffers from a curious case of repetition.

We’ve seen this all before. The mystical creatures, even if they were delusions feel overused after the previous entries used them with such vigour. And when you get down to it, all of these dramatic feats, shoot outs and death defying stunts is to find a lost city, again. A city deserted because of the Arabian, supernatural entities known as the “Djiin”, which is a direct result of a demonic oppressor from the very depths of Hell! Oh wait no; it was a vase. An evil vase. An evil vase that poisoned the water of this exalted city, driving everyone insane. Well at least it culminates in a epic showdown between Drake and Talbot, locked in a brutal encounter that…no, wait. No, it’s just a series of QTE’s. Huh? Having said that Drakes Deception is more than salvaged by the incredible set pieces, with many of the stories or game-play’s incoherence instantly forgiven due to the fact that it’s such a blast to play. You could almost feel the heat emanating on the screen as you attempt to escape the burning château, the incredible sense of isolation as a dehydrated Nate staggers through the expansive desolation of dunes in the Rub Al Khali desert. The disorientation of shooting you’re way off a slowly sinking ship as it Sunday wrenches starboard.

Drakes Deception relies heavily on theatrical dynamics, it’s penchant for the dramatic and uses every conceivable excuse to ignite the highly volatile scenery rather than portraying a compelling or even competent story. Yet it’s ceaseless volatility makes it one of the more captivating and exciting entries to play.

#2. Uncharted 2: Among Thieves.

I was so close to putting this top. In fact I’m still conflicted as to whether I’ve made the right choice, but on reflection I don’t think Among Thieves deserves to be considered the top spot. In many respects it’s still the best in the series. It’s high octane, introducing some of the most theatrical, sometimes breathtaking set pieces I’ve ever experienced. The entirety of the Helicopter chase is hypnotic! For the most part you’re clinging onto the controller, praying that the collapsing building doesn’t squash you into a Drake sandwich. And the train, oh my god the train! I had by ass clenched so tight trying to navigate my way from the back, to the front carriage that I couldn’t poop for 3 days! Watching helplessly as Drake clutches onto the back of the carriage as the disconnected portion of the train comes hurtling towards you like a rogue rotisserie. “It’s not going to hit me, no. No? No! Drake! Pull yourself up its going to hit you! Drake! Drake!!! Agghhuuuhhgggbt! Oh god I need….air!” These were moments the series has never adequately replicated with the same intensity, despite subsequent attempts. But Among Thieves is well aware of the limitations of explosions by just toning things down to a more austere pace as they did with the Tibetan village. There’s a vast distinction between Drakes Fortune and Among Thieves. The disparity between the two is discernible, whereas the difference in quality between Among Thieves and Drakes Deception is negligible. Among Thieves is such a bigger, better, bolder game. It created this sense of hyperventilating anxiety, as if you were always on the cusp of losing control. Every shifting ledge, every explosive reverberation even the slightest environmental alteration had you on edge. It’s like Grandpa in the Simpsons indiscriminately pointing at different people and hysterically yelling “DEATH!” That’s how you feel trying to negotiate through war torn cities, jungles, mountains, ancient civilisation’s or any environmental hazard that “will” try to kill you!

Among Thieves was captivating and at times creepy. The moment you descend into the hidden sanctum replete in the skeletal remains of Marco Polo’s crew, each with unexplained blackened teeth and traces of blood all across the floor as if they’d all killed each other still creeps me out. The relationships are more refined than in Drakes Fortune too. The chemistry between Drake and Elena resonates with such intensity here, particularly with the addition of alluring temptress Chloe Frazier contributing additional dimension to Drake and Elena’s strained romance, with Chloe enabling Drakes reckless endeavours. It also features one of my favourite exchanges between Drake and Elena, where after sustaining serious almost mortal wounds Elena asks Drake on a scale of 1 to 10 how scared he was that she was going to die, where Drake glibly replies “4”. Elena, further trying to clarify what constitutes as a 10, Nate, without hesitation affirms that “clowns” are top of that distressing pyramid. Uncharted 2 features all the elements that truly define the series. The environments, the combat, the exploration and the characters. So how could such a seemingly perfect game only procure the silver medal in this contest? Well two crucial reasons.

The first being Sully’s primarily and largely absent participation, relegated to mere subsidiary observer for much of this entry, casually leaving early on. But easily the biggest crime is the horrendously asinine villain; Lazarevic. A derivative caricature of a villain he’s intentionally portrayed as this deranged, snarling, psychopathic killer, snuffing out members of his own inventory simply because they don’t warrant consideration. His motivations are solid enough; he wants to find Shangri La to gain immeasurable power so he can, you guessed it, take over the world. He’s heavily accented, is bald and has a pronounced scar on his face. Seriously Lazarevic couldn’t of been any more of a generic antagonist if he were sat in a swivel chair stroking a white cat demanding sharks with laser beams?! Every time he was on screen he irritated me, just devolving into this laborious plot device rather than an actual human being. Now Flynn, now that’s an antagonist. Not villain, not interlacing his fingers and exclaiming “excellent”, but a fully formed, intent antagonist with progressive motivations and context. The verbal jousting between Flynn and Drake is only further escalated when they become enemies, intensifying the collaborative dissonance between. It’s also incredibly enjoyable to watch.

Perhaps I’m being overly critical and unfairly biased to vilify the entire game based solely on these two proprietary errors. But I really do value this game despite the economic use of Sully and stereotypical antagonist. In a few years, properly motivated, a revised list may well have Uncharted 2: Among Thieves at the top of this list. But for this one it will have to settle for the silver medal…..

#1. Uncharted 4: A Thief’s End.

So how and why has this ascended to the top of the thrown, usurping Uncharted 2 which many consider the unequivocal focal point of the series? Well you’re have to wait for my review, which I have decided to separate into various categories for ease of use. Basically because I waffle on for extended periods and by reducing the review into segregated portions I can at least focus on specific points with expeditious leniency. Plus you shouldn’t get as bored. It’s a subject I have much to discuss, and also one I want to be entirely sure I discuss with salient clarification. This could very well be the last Uncharted game I’ll review and I just want to get it right.

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So what is your’e favourite game in the series? Let me know in the comments below. Cheers.

Charting My Week Ahead.

I “was” formerly conducting an existential dissertation on the jutted abstraction of formulating light and dark in a more centralised and contemporary setting in gaming. I had also begun preparations on the systemic intuition that fly’s, amongst other insects derive so much pleasure from sitting on the television screen when a game is commencing, as well as the pragmatic approach you should take to prevent such an intrusive spectator. Then I decided that none of that made any sense at all and instead sought to eradicate militarised minorities in a jungle with some much needed frivolity. In Uncharted of course. I’m not a vengeful dictator…..yet? And so plots my week ahead too as well obtaining further rewards in the Nathan Drake Collection.

So check out just how awesome (and humble) I am as I complete the final chapter on Drakes Fortune on its Crushing difficulty.

Fortune Favours Those Among Thieves Deception

Warning; if you are susceptible to protracted sarcasm, perpetual bouts of condescension, repetitiveness, verbal deification, negligent use of asterisk, errant symbolism to things that aren’t remotely symbolic or biased renditions of platonic affinity from one “man” (emphasised) to another “MAN!” (Capitalised with an additional exclamation mark). Then what the hell are you doing here?!

Today I had decided to solicit concise and methodical comparisons between every iteration of the PS3 console, the differential blemishes associated with the Dickensian influence that blight our fair and noble industry we call gaming, discuss the misogynistic intention displayed in the GTA series, fastidiously assert my projection of consoles auxiliary impact on future generations, all with rhythmic servitude, pomposity that enduringly adorn my pretentious musings. That is until I realised that I’m not currently claiming a pension, suffering from generative infirmity or neurological impediment, or riddled with lacerations to my frontal gyrus–which as we are all aware is the part of the brain that measures and responds to jovial stimulants (I looked it up). My penitent for dramatised pragmatism is currently gripped by a sudden inflammation to my sensory memory, or more specifically my “Iconic memory” (looked that up too). But what has caused such a paralytic relinquishment of articulate proficiency? Now let me think *adopts a very Sherlockian pose* Something to do with a contemporary protagonist who “Charts” formerly “Uncharted” territories and contributes formally to the reduction of piracy’s evanescent mortality.

“Say farewell to friends and family. Hello hermetic social life.”

You may have inferred from my considerate and adequate paradigm that there has been a significant announcement made, and it isn’t Kane and Lynch 3. It’s a new Uncharted! *collapses into a foetus like position* So what can we surmise from the reticent trailer that depicts a very clandestine assumption to proposed events? Not much. The languidly circumnavigating map does suggest that we will be exploring exotic continents, excavating or perhaps pilfering rare antiquities and battling a man (possibly zombie) who seeks retribution for his 15 year burial, or perhaps this intended statement is not so literal but rather a metaphoric analogy *shrugs shoulders*. My fabricated imaginings aside, the solitary title does suggest that it may not be a direct sequel to past events, and there are already mutterings across the stratosphere that Nathan Drake may not be a prominent fixture *gasp*. Though I deem it implausible as well as unconscionable to exclude such a prominent figure so associated with a series, to which I doubt NaughtyDog  would be so remiss. I would be akin to prohibiting Jack Bauer from 24. It’s safe to say that Nate will return in some capacity, whether as the main protagonist or as an auxiliary figure, either way I am very excited…..

What’s that? You recall reading a previous article called “The Last of Drake” that firmly states with full literacy my vehement aversion to another Uncharted game, which at time of publication lies adjacent to this one (no the right side, up a bit…Oh, its gone). Well your mad, mad as shortbread (which is neither bread nor short!) and you should consult a physician to diagnose your clearly deteriorating faculties. UNCHARTED UNCHARTED UNCHARTED!! *Swoon, screams, urinates, collapses, before defecating in my unconscious state*

Kathrine Marlowe; The Best Uncharted Villain?

“This image will forever haunt my nightmares!”

Uncharted is arguably the PlayStation’s most influential commodity, receiving both lucrative prosperity and vast critical acclaim, largely attributed to widely revered, highly resilient protagonist, Nathan Drake. He’s heroic, death-defying antics, possession of adept dexterity, impressive versatile ascendancy of almost any vertical surface, and the upper body strength proportionate to any inhabitant of Skull island. All of this and more besides has allowed Nate to occupy the hearts and minds of many swooning females, who begin ovulating inexplicably at the mere sight of the rugged, charismatic archaeologist, with the male contingent retaining a far more dignified respect, and yes perhaps a minor curiosity, though for me its purely a platonic admiration, honest. My man crush aside, the adrenaline fuelled narcotics afforded by its cinematic decadence, the resonating exchanges between the digitalized cast, as well as the destructive potency of Drakes retaliation to every potentially, combustible architecture are all significant positives that makes Drakes search for rare, often mythological antiquities all the more compelling. But without a convincing antagonist to parry Nates relentless witticisms and tarnish he’s miraculous defying escapades, the series would be a hollow, albeit fun distraction.

“What beautiful, simulated babies Nate and Elena could conceive.”

As a villain, Katherine Marlowe is more than just an effective antagonist, she’s convincing. She’s not the conventional, tangible intimidating presence, to the alternative, transparent brutish façade offered by Lazarevic in the previous outing, but more of a cognitive assailant, infiltrating and coercing Drake with the disorientation of his perceived reality. She conveys an unnerving auditory restraint of supremacy, adopting a peripheral vision of superiority like a satisfied deity surveying their creation, with an attentive disposition to her cause, stoic and meticulous in her work with unwavering aspirations to succeed at any cost. Though the ravages of time are distinguishable, betraying the predatory abomination that fester’s beneath the shallow, superficial deterioration–accentuated by Marlowe’s outwardly docile vulnerability and her uncanny resemblance to actress Helen Mirren, underneath this, is a seething manifestation of a conniving manipulator, fuelled by power, discrimination and a puppeteer of marionettes from some secret, hermetic society, willing to fulfill any ambition she desires with the simplest of gestures. It’s these, annotations and deplorable constitutions, that transform her into a far more potent adversary than previous enemies.

“Lazarevic is an undeniable, bald bad-ass!”

There’s a benevolent, eloquent air of finality to her actions, adhering to a more sophisticated means of personal torture to intimidate Drake. For instance, reiterating the tormenting revelation of his parents demise, clarifying and thus revealing a secret long-established, though concealed by Drake, and succumbing to far more brutal, emotive lacerations that supersedes any physical affliction that Nate has sustained prior. Marlowe is fiendish in the way that she can somehow advocate a balance of crassness with delicate eloquence, obscuring her deceptive masochism behind a veil of infirmity. Even the stoutest of minds would crumble under the crushing brutality of her verbal jostling, relishing in the prolonging sentiment that exacerbates Nathan’s sorrow, and further ratify the antipathy of mutual disdain between the two. Though Lazarevic mechanical petulance was complimented seamlessly, with the comedic antics from conspirator and mockery to the British intelligence–if there is such a notion?–Harry Flynn, that added necessary diversity to the interactions with Nate, but a similar, idyllic presence wasn’t never really felt with Katherine’s associate. Talbot was an all too ambiguous presence, collateral addition, starved of any discernible relevance to the escalating narrative, that you begin to interpret his inclusion with vague sophistry, verbally questioning his purpose and placement; is he a possible relation to Marlowe? Perhaps just a simple, unaffiliated impartial affiliate? Or even a sexual partner? There was never a clear, decisive reason for his association with her, other than the arbitrary physical occupancy, to engage in more dynamic altercations with Drake, ill afforded by Marlowe’s less domineering physique.

So evil, manipulative, psychopath, a privileged entrepreneur, seeking power and the extended longevity of her existence; the perfect characteristics for a devious female villainess, ironically adopted by my ex girlfriend. But I’ve veered off to another one of my tangents that bewilder rather than enlighten. Lazarevic had he’s resources and even Eddie Raja provided much comical merriment, Marlowe retains the metaphorical crown as being Drakes most fiendish adversities. Well, at least until Uncharted 4 anyway!

Which was your favourite villain? And do you prefer physical, or cognitive manipulating villains? Let me know your thoughts. Cheers.