I just can’t wait any more. I can’t! I’m getting a little tired of scaling over car bonnets and leaping over modest sized shrubs in an attempt to emulate one of Drakes many misadventures, you know like the time he leapt over a small fern in the middle of the desert. I used to be more patient, preserving those moments of whimsical delirium with superseded rationalizations. Not now though, ugh, just release Uncharted 4 will you! I crave the dynamic levity of the many cinematic’s reserved to expedite the dramatic tension. Nolan North deploying his organic sundry of composite, barely perceptible quips. The numerous bellows of “Oh crap!” I’ve analysed every texture in the extended trailer, scrutinised every facial animation, evaluated the definitions of the rendered inhabitants. How they function, move and react to the passive coercion as Drake meanders through the congested crowd of perusers. Every instance has been cleansed of its undisclosed attributes into a more conspicuous interpretation. I’ve swooned at the way the singular grains of rice deplete from the sack, riddled by the exhuming penetration of gunfire and the washing line entangled in on the hood of the 4×4. Yeah that’s right, grain and a severed washing line?! This purely platonic dalliance has exceeded all reasonable neutrality on my part now. There’s little conservation of emotion any more, this is the nurtured bias that will fulfil my heightened expectations. Its worrying I know, but forgive me for being just a little less pessimistic than I’d otherwise be expected to be. But I’m determined to reprise my auspicious role as the worlds greatest (luckiest) adventurer. Like right now!
I just can’t take it any more! (I may have mentioned this before?) I need to play this game. I need to know more about the unspecified exotic location that has suddenly provoked aggressive hostility towards Drake and his growing contingent of continually destitute companions. Discover how Sully, Drakes paternal father, even in advanced senility possess the vascular dexterity of an energetic monkey? Is there discernible reduction in manoeuvrable sensitivity when cruising over unstable terrain in a 4×4? Will the potentially destructive union between Nate and Elena finally be superseded by Drakes promiscuous fortuity? Should I stop asking rhetorical questions to which I won’t receive definitive answers for until its finally bloody released?! Probably. I could speculate to the origination of such errancies until I’ve exhausted all possible estimates, and regrettably will. Its even getting to the point that I’m beginning to construct fraudulent theories on how this adventure will likely be concluded, notably influenced by the highly suggestive subtitle (A Thief’s End), thereby establishing the most obscure context that explains the series of events depicted in the trailers. Granted the tonal liberties I’ve taken are speculative inferences, grounded in as much reality as a Fast and Furious movie, with notions that suck any lingering integrity like a maelstrom of pure vacuity. But damn it if it isn’t the greatest game ever made, in my head. Uncharted is like that best mate that emigrated to the other side of the world, leaving you with the mitigated fragments of your past collusion’s.
I can’t wait any more! (seriously, I’m getting the weirdest sense of de ja vu here?). I had noted the games original availability with perfunctory caution, aware that the purported release date was likely conjectural, or at very least vacillating in its accuracy. I thought I could wait, merely bolstered by the confirmation of its existence. That my patience and moderated expectations would endure for any length for NaughtyDogs adjusted development phase. I am after all a tireless advocate of intricate modifications distributed to content to provide the eventual user with a more cathartic experience, rather than derivative serialisations devoid of cogency or annualised for regular revenue. But I’m also an exponent for demanding Uncharted 4 right &*$%**£”! now! NOW!! I need it. I feel like I have a narcotic dependency that can only be sated by exhilarating injection of N.A.T.E. I don’t want to be slinking down grubby back alleys for Uncharted supplements and substitutes, rubbing my teeth with my fingers to taste every last ounce of Uncharted drugs into my system. Its been almost 2 years since Naughty Dog officially announced Uncharted 4. 1 year 8 months and 20 days! That’s 629 days! Close to 90 weeks! 905760 minutes! And…..well you get the idea, don’t you Naughty Dog. I see what you’re doing guys, very funny. But enough is enough! Do you realise how difficult it is waiting for this game. The torture I’ve endured. You don’t even care about the ramifications of me informing my girlfriend that I have requested more time off from work to play the Nathan Drake collection, a series I already own on the PS3, than I have for her Birthday! Its inhuman!
What games have made you wait too long? Let me know. Cheers.
Trailers you would presume are concise visual stimulants that present a reflection of our own perceived estimations, glorifying our assumptions to a game by adding credence to our pre ordained specificities. The fraternity of caricatures presented in trailers is supposed to loosely represent a games entirety with varied depicted content, providing subverted context that enhance your anticipation for a hugely popular title. Of course the above statement is as legitimate as an imminent release of The Last Guardian, because for all the grandeurs representations, trailers only add further disparity to our cursory expectancy. They compose such a scattering of their most desirable elements that only partially emulate a games essence in to such modest longevity that you often feel you already participated, which causes you to lament at your own pilfered expectancy. Even the relative vagueness of stationary images have nomadic implications that really only intrigue, rather than expand on the published content.
Most trailers are scrutinised because we anticipate a hugely riveting reveal, one that exposes a games exhilarating countenance only to discover the falsity of its depicted embellishment after purchase. Dead Island’s CGI trailer for instance–despite the relative monotony of apocalyptic masochism–professed a game brimming with emotive poignancy, perhaps not demonstrating metaphoric resonance but certainly diverting from the rigid conformity of its partition genre. Instead we received a game that resonated with all the passionate authenticity and demonstrating contradictions to the perceived trailer. The ambiguity of trailers can nullify the impact a of game once we’ve been introduced to them, distorted by our own assured conjecture. You firmly establish a nurtured perception of how a game will perform and look before you’ve even appropriated the game itself. Their deceiving, hindering our ability to make rationalised distinctions from we believe to be comparative to our assumptions. We estimate a games quality by the capitulating footage we’ve seen, with a commencement of symphonic acoustics that add deepening significance to the already deepening ambiance, most evident in game-play trailers. Game-play footage is a mute punctuation to a games advertisement; yes you can observe how a game will likely perform under your tutelage, but you can’t interpret how it feels, whether the quick rotation that the character made was a graceful pirouette with only the subtle impression of your thumb required to perform the rotary transition, or whether your require the dexterous precision that only an irradiated spider bite could administer.
By design trailers have to be deceiving in their context, only providing glimpses into a games direction, creating a commercial buzz for their product to attract the maximum number of participants to make it as commercially viable as possible. But regulating what consumers perceive is when a trailer truly succeeds, rather than deceiving the viewing enthusiast. The overt hindrances lie predominately in the divulging too much information or not enough, rather than demonstrating parity between the 2. Of course this is a subjective rationalisation because I know that my expectations for Dead Island were ruined by a trailer that from my perspective promised far more extensive opulence, but due to my negligent ignorance towards GTA V’s intensified trailers, doesn’t necessarily mean that my experience would have been negated by the trailers fastidious influence, does it?
Can game trailers ruin a game? Or do they enhance the experience you eventually receive? Let me know your thoughts. Cheers.
FINALLY! It seemed like an eternity. Waiting for the announcement of Rockstars gangster classic, is almost as excruciatingly cruel as being strapped to a chair and being tormented with painful dental surgery, that’s being conducted by an ear shatteringly, amplified Fearne Cotton (horrific). I was beginning to question my own mental stability, almost as though GTA V was some twisted delusion I concocted after a few alcoholic beverages, and was quickly becoming like a bigfoot style myth. But at last, Rockstar have restored some semblance of my mental faculties, by finally announcing the existence of possibly the most anticipated titles ever, Grand Theft Auto V.
Legitimate information on this behemoth of a series is still relatively scarce, but GTA V looks set to continue in the same realistic strides as its predecessor, by focusing the games narrative firmly in a more mature manner, which could alienate many fans hoping for a series return to its more humourous roots and compete with its absurdly nuts, but equally entertaining rival, Saints Row. But this should be seen as a state of intent from Rockstar rather than seemingly distancing itself from its nearest competitors, which are still hopelessly upstaged and out maneuvered by this gargantuan of a series. But ultimately GTA doesn’t need to compete with any game, let alone SR, due to the underlining fact that its GTA, and it can do what bloody well likes.
GTA V is returning to a present day Los Santos, where you play a yet unnamed, undisclosed and totally unknown protagonist who incidentally, narrates throughout the course of the trailer, and expresses his desire to move to Los Santos to retire, start a family and forfeit from “that line of work” and “to be a good guy for once”, so expect him to be on the more mature “Tommy Vercetti” side rather than a young, athletic “Carl Johnson” type, who’s looking to settle down and possibly, make amends for past indiscretions, or more likely, blow things/people up. I do have my reservations about GTA revisiting Los Santos though. I can’t really figure out whether it’s a step forward, or two steps back, but if there’s one constant in gaming, it’s that Rockstar know what they’re doing.
As it’s a present day setting, expect the games narrative to be heavily targeted on the current economic crisis that has crippled the financial world, and to focus on the greed and corruption of repugnant bankers, which sounds like obvious fodder for a game such as GTA. Also the “V” in GTA V appears to harbour an uncanny resemblance to a dollar bill, which is a strong indication that money will play an integral part of the story, but this is just speculation and is really all any of us are capable of achieving at the moment, at least until much more substantial information is released.
The trailer, though short, is exceptional in its beauty, scale and ability to entice the viewer with its untold brilliance, that really capture’s your attention and provides you with the stark reminder, that this is the game that you’ve been anticipating. As if we needed reminding?!
Check out the trailer and let me know your thoughts on GTA revisiting Los Santos, what you believe the story will involve and anything else that interests you. Cheers.