Showing posts with label Uncharted. Show all posts
Showing posts with label Uncharted. Show all posts

Tuesday, May 24, 2016

Greatness From Small Beginnings
Review
Uncharted 4: A Thief’s End, Naughty Dog (PS4)

Abstract: Uncharted 4: A Thief’s End is a fantastic send off to one of PlayStation’s marquee franchises. Naughty Dog is peerless at crafting cinematic narrative adventures and their skill shines through in Uncharted 4. The game tells a more nuanced narrative than previous entries, filled with great character moments, dialogue, and themes that resonate throughout your experience. Uncharted 4 features smart improvements to nearly all gameplay systems, from more rewarding combat to more thrilling platforming. Uncharted 4 will no doubt be a highlight of 2016 and is easily one of my favorite games this year.

Sic parvis magna. “Greatness from small beginnings.” These are the words that accompanied the intrepid Nathan Drake throughout his five game journey. The words ring true for the franchise as a whole. Naughty Dog had accrued trust with their earlier titles, Crash Bandicoot and Jak and Daxter, but hadn’t really made it into the hall of the ‘greats’. Their first outing on the PS3, Uncharted: Drake’s Fortune, looked to propel the studio to new heights. The jaw-dropping Uncharted 2 all but solidified their claim. Nearly a decade after the series began, Uncharted 4: A Thief’s End marks the conclusion to the widely-acclaimed series. And what an ending it was.

I apologize in advance for a bit of hyperbole here, but Uncharted 4 is the best action movie I’ve ever played. Uncharted 4 builds upon the series’s past successes meaningfully, draws inspiration from its contemporaries, and delivers a nuanced adventure that is not only satisfying in its own right but confidently concludes Nathan Drake’s adventures.

Uncharted 4 takes place several years after the conclusion of the previous game. We find Nathan Drake living a quiet life, working salvage and stamping papers behind a desk. The game’s story revolves around Sam Drake, Nathan’s older brother (whom we had never heard of before). You quickly discover that Sam is not as dead as Nathan thought, and that he is in desperate need of Nathan’s help. Sam needs to finish an adventure the two started over 15 years ago – finding the legendary pirate Henry Avery’s long lost treasure. We follow their quest around the world, following hidden clues, solving deadly puzzles, fighting against an entire militia who wants the treasure for themselves, and for the first time, introspection. Uncharted 4’s narrative is more than just setpieces and globetrotting; it’s about Nathan Drake and the life he has led up to this point. Uncharted 4 is not a standalone adventure. Moreso than any Uncharted game before it, Uncharted 4 is a direct sequel to the narrative threads laid out by its predecessors. It’s for this fact that I want to clarify right now that you should not play Uncharted 4 before playing the previous Uncharted games. You will miss out on too much, from call backs to character moments.

Welcome to the end of a great adventure.
In reading other reviews, I’ve seen the word “mature” being tossed around to describe Uncharted 4’s story. Maturity is a complex and abstract concept, so I want to avoid using it here. Uncharted 4’s plot, however, is more nuanced than previous entries. It has a depth, mostly via a real exploration of its character’s motivations and personalities, that made what happens feel more substantive. As much as I loved Nathan from previous adventures, he was a pretty one note character – a quippy ubermensch. He was the fun-having, joke-cracking, bad guy-killing treasure hunter we all know from pulp fiction. In Uncharted 4, though, we’re given a more nuanced view of Drake. Why is he the way he has been in previous games? What motivates his treasure hunting? What makes him uncomfortable with normal life? Is Nathan Drake a good person? This exploration of character extends to many of the game’s supporting cast, from Sam to Elena to Sullivan. Character development is bolstered by Uncharted 4’s decision to pair Nathan up with a partner throughout the game. Similar to what we saw in The Last of Us, this partnering allowed for fantastic back and forths between characters (made even better by the game’s great writing). Perhaps the biggest compliment I can give the story is this: it never felt secondary to the action or setpieces. Uncharted 3 in particular felt like it wanted cool moments above all, and made a story to support their inclusion. In Uncharted 4, everything is about the end of Nathan’s adventure and his relationships to the people who know him best. Uncharted 4 wraps up Nathan Drake’s adventures in a deeply satisfying way.
 
There are action setpieces to be found, of course, but Uncharted 4
 always puts the characters and narrative first.
I appreciated the layers present in Uncharted 4’s narrative, too. The game is more than just one last adventure for a famous treasure hunter and his long lost brother. Uncharted 4 comments on the very nature of chasing impossible dreams. Nathan Drake’s last adventure is scaffolded with characters, and collectibles, that serve as an allegory for his arc. Essentially every character in the game, alive or dead, is a reflection of one of Nathan’s qualities. The overarching theme to the game is the cost of ambition. Naughty Dog does a phenomenal job at reinforcing this theme throughout, while avoiding clichés. For example, Uncharted 4 has phenomenal environmental storytelling. The world, and the collectibles within, offer side narratives and characters that meaningfully add to the story taking place at the game’s surface. Repeat playthroughs would no doubt further elucidate Uncharted 4’s dense narrative world, which makes me respect it all the more.
 
Where is the line between greed and ambition? What is
worth losing in pursuit of treasure?
Uncharted 4 is not just narrative, however. There is a whole lot to like about the gameplay. Uncharted 4 is a wonderful optimization of the franchise’s gameplay. Combat saw across the board improvements. For the first time, shooting felt asterisk-free “good.” Guns sound and look and aim like you would expect them to. Each weapon has an identity, which was great, as low ammo meant you constantly have to use whatever you can find. Enemy encounters feel handcrafted in the best possible way, giving players a dynamic environment that favors mobility and shifting tactics over hiding behind one piece of cover for the entire fight. Stealth has been improved, making it viable to silently take out the majority of your foes. Uncharted 4 added several quality of life features to combat as well. For players who want to engage with the story, but aren’t great at aiming, the game offers an auto-lock on feature that can be toggled on or off at any time. All enemies can be marked, giving players the tools to better plan their attack. On top of all that, Uncharted 4’s enemies are the least bullet sponge-y than they have ever been. Even on the hardest difficulty enemies go down with a few well-placed shots. This not only reinforces player skill but keeps the game’s momentum moving forward at all times.

Platforming, another essential part of Uncharted, has seen similar across the board improvements. The animations in this game are incredible, reinforcing the physicality of both the world and characters as you jump and climb your way around. Navigating through the environments has been made decidedly less constrained. Uncharted 4 offers several paths for players to take to get from A to B, from its more open environments down to even the handholds or ledges themselves. It removes the feeling of being shuttled down a corridor, enhancing immersion. Uncharted 4 introduces a series first handful of truly open environments. You have a set objective, but are free to wander and explore beautifully detailed and wide-open spaces. These are hit and miss, unfortunately. I enjoyed the sense of discovery and the great dialogue that happened while exploring, but overall the environments felt a bit too large (& too empty) to be worth scouring. A minor gripe to be sure, as you don’t spend long in any of these settings, but one that could have been tweaked to improve the player experience.
 
Encounters encourage mobility and experimentation.
No more being trapped behind chest high cover!
Puzzles make their return, of course, and are better than ever. For a game that so heavily relies on narrative momentum, puzzles can be a risky proposition. You don’t want the player to torture themselves trying to figure out something overly complex. Nor do you want them to be so easy they might as well have not been there. Uncharted 4 straddles this boundary perfectly. Some puzzles are more successful than others, but for the most part, all are just hard enough and just quick enough that I felt both satisfied to have solved it and happy to move forward. One puzzle in particular, found at the end of the game (symbols on floor squares), is now a franchise favorite of mine. Serious Indiana Jones vibes in all the right ways.
 
You won't be scratching your head too long trying to solve Uncharted 4's
puzzles. Which is great!
The biggest change to the Uncharted gameplay formula, rather than just refinements, is the addition of the rope. Nathan and his brother come equipped with a grappling hook-tipped rope that they use liberally throughout their adventure. The rope’s inclusion is odd at first, since Nathan was never previously the Tarzan type, but it eventually clicked and added a nice new layer to playing. Hilariously, its inclusion is even explained through the narrative. Swinging from cliff edge to cliff edge adds tension to platforming. Swinging around in the open air creates some beautiful vistas. Last minute hooking onto distant structures is built into some of the game’s best setpieces. The rope also adds to the dynamism of combat. Several of the game’s combat encounters have rope points, allowing you to swing action movie style from building to building, firing upon foes from midair. All it took was one dramatic midair headshot from my AK-47 to melt away all my rope skepticism. It’s a great addition.

It's hard not to grow attached to the rope. Moment-to-moment or action setpiece,
the rope is consistently fun.
As I mentioned on our podcast, Naughty Dog is peerless in the industry. No one can deliver gripping cinematic narrative adventures like they can. One of the ways in which they solidify their number one spot is just how fantastically detail oriented the team is there. Tender love and care bleed through every corner of Uncharted 4. For starters, Uncharted 4 is probably the most graphically stunning game I’ve ever seen. Character models, facial expressions, physics, environments: Uncharted 4 is jaw-droppingly gorgeous. I honestly do not even know how they do it. Uncharted 4 looks better than other games running at max specs on several thousand dollar PCs. It’s crazy.  The TLC goes much further than looks, though. Everything in the game is scripted well, reacts naturally, and feels real. The game has a ton of extra features and accommodations to players of all skill levels, interest levels, and engagement. Upon beating the game you unlock a wealth of content, including game modifiers (like spawning guns or bullet time mode) to aesthetic features (like a full 8-bit mode) to unlocking specific encounters for players to replay. The game’s epilogue in particular showcases how much Naughty Dog cares about its characters, its world, and its fans. Uncharted 4 is a rich game.

My eyes welled up with tears when I set the controller down at the end of my adventure. Uncharted is always a series I liked, but after A Thief’s End, it’s now a series I love. Nathan Drake is definitively done adventuring, so I guess I have to be too. It was great seeing him through his fantastic adventure, and I’m thrilled that Uncharted got a perfect send off with Uncharted 4: A Thief’s End. I’ll miss you, buddy.

Uncharted 4: A Thief’s End
5/5

Friday, January 22, 2016


News & Views
1/16/16-1/22/16

Let The Impact Factor keep you cozy on this cold, dark and rainy (at least in the Bay Area) Friday. This week was a pretty good one, though I’m more than ready for the weekend. So many great games to play!

News & Views compiles the best and most interesting gaming stories from around the web each week. Check out the links below for cool writing about the PhD’s who are changing games, the math of Hearthstone, making roguelike randomness visible in Tharsis, and how emulation is good for more than just archival.

And of course you can check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Patrick Stafford, Polygon

Worth Reading
Jamin Warren, Kill Screen

Michael Shalyt, Gamasutra

Patrick Klepek, Kotaku

Chris Priestman, Kill Screen

Maxime Beaudoin, Gingear Studio

With Comments
Will Partin, Kill Screen
Tharsis is a game I’ve been having a good time with this past week or so. Now that I’ve put it down (likely for good), I was curious what others were saying. Much to my surprise, so many people loathe the game. Huh. While reading through all the negativity I found this, a piece by Will Partin praising the ‘bad’ game design of Tharsis. His take is an interesting one. His thesis essentially boils down to how the punishing and random nature of Tharsis is emblematic of the unseen forces of the universe, and how reality is impartial towards human life. The inevitability of death is a constant. I liked what Partin had to say.

Roy Graham, Gamasutra
More Tharsis talk. Sorry, this game (& even more so the discussion around it) has really sucked me in. Roy Graham writes about the randomness of Tharsis and how, at times, progression is more about gambling than it is about strategy. I agree. I wish the article had talked about the dichotomy between randomness and strategy, which is the issue at the heart of the game’s detractors. A good read regardless.

Dan Silver, Eurogamer
Dan Silver has a great interview with Naughty Dog’s Neil Druckmann about the end of Uncharted, one of last generation’s best IPs. I’ll be sad to see it go, but Druckmann has me convinced it’s the right move. Really excited for what they have coming next.

Jeff Gerstmann, Giantbomb
Gertsmann writes a great little piece about how emulating old games can go far, far beyond archival. One of most salient points is about how contemporary emulation allows old games to be dissected, and inspected, in ways that were never possible before. Looking at, and playing with, the code of old titles gives insight into game design (the hows & whys of its existence), and discovering the many secrets hidden below the player interface. We live in an exciting time.

Tuesday, December 8, 2015

PlayStation Experience 2015
Special Article

PlayStation Experience (PSX) was a phenomenal event. As always here on The Impact Factor, when I attend a live event I give you a special report: a synthesis and reflection. Plus a ton of pictures. This one is no different! I’ll try to keep my written thoughts for PSX a bit shorter, since I have a boatload of pictures to get to.

PSX was a little different. As opposed to GDC 2015 or the Hearthstone America's Championship, this event I had company. I went with my lovely fiancée Justine. It was amazing. It changed the way I experienced every single thing: the demos, the show floor, the panels. Everything. At times, she offered a point of contrast. At others, she reinforced my observations. Having Justine there bolstered my excitement for what was great, tempered my reservations about games that weren’t, and gave tangibility to all of PSX’s odds and ends. So, if I can translate this reflection into something meaningful for you all, it’s this: bring someone along to live video game events. It strengthened every single moment I was there.

In only its second year of existence, PSX is a confident, fan-focused event that was well-worth attending. PSX was the first fan-centric gaming convention I’ve attended, as GDC for the people making & publishing games. It was with this mindset that the conference’s structure made perfect sense. Sony did a great job at making fans, like myself, feel like they are an important part of the company’s future. There was a certain amount of honesty that permeated the event. Many games were there at very early stages of development, smaller independent games were given a substantial amount of floor space, and game developers were everywhere. I had more conversations with developers at PSX than I did at GDC. It was a great feeling.

PSX was all about bringing fans close to the people who make PlayStation possible. That’s not just the game devs, although I did see David Jaffe, Tim Schafer, Yoshinori Ono, and Katsuhiro Harada on the show floor. It was the PlayStation executives too. I stood a foot or two from Shawn Layden, Adam Boyes, and Shuhei Yoshida. In each case, the only reason I didn’t talk to them was that they were already engaged in conversation with other fans. It was surreal having that kind of access to the people who run PlayStation.

I want to comment briefly about the culture of the show, too. PSX was unexpectedly pleasant. A few bad apples aside, people we interacted with were pleasant & welcoming. They just wanted to share their passion for PlayStation with others. Signs posted all around the event cultivated this inclusive culture. It was a culture that respected all levels of gamer skill, too. Never once did a fan or a dev critique our gameplay. More often than not, they would offer words of encouragement or helpful tips. PSX was all about letting the fans know that, if you want to play games, there’s no better and more inclusive place than PlayStation.

It’s clear that PSX is one long informerical for games. Initially, I thought this would be off putting. I thought that it would make the games feel hollow. Thankfully, this wasn’t the case at all. From what I’ve read online, PSX felt a lot more like a PAX than an E3. Sure, people were trying to sell me things, but never pushed too hard. Some of the booths were a little corny, but they added to the visual spectacle of the show floor.

Finally, a few quick thoughts. PS VR is a solid experience that has me interested in buying into our VR gaming future (with reservation). Bound, Severed, & Eitr were some of my favorite demos. The themed photo ops are hilariously fun to do. The panels were hit or miss, most felt a little too disorganized to be worthwhile. The keynote was a little underwhelming in terms of game announcements, but was fun as hell to experience in person. PSX was a blast and, should it be nearby again, I would attend without hesitation.

For more of my PSX impressions and reflections, check out The Impact Factor podcast on Friday 12/11, in which I’ll discuss PSX in grand detail! But now let’s get into photos from the event!
We picked up our badges the day before PSX started. Got a sweet bag of goodies!
In line waiting to enter. We showed up at 7:40am for the 10am keynote.
People had been waiting since 9pm the previous night. It was a very long line.
First view inside! Sweet (gigantic) banner over the badge check-in area.
As we made our way up to the 3rd floor for the keynote, we got to see the PSX Live area.
Very cool little set-up.
After much waiting we finally made it into the keynote room! Got pretty sweet seats.
PSX had a bunch of these collectible cards you got for going to booths, panels &
demoes. This is the rare card for attending the keynote!
The crowd erupted when Final Fantasy 7 Remake was shown. The place vibrated.
Street Fighter V showed off its final character, and confirmed the 6 DLC characters. Whoo!
Two Psychonauts announcements in one weekend? Be still my heart.
Hard to see here, but the Rez Infinite PS VR demo was nutty. The glowing
neon suit was a nice touch. (We got to play the demo of this one, whoo!)
Out onto the show floor! The giant interactable wall for The Last Guardian was
neat. Just wish there was more TLG at the show!
Most booths were understated, but not Battleborne's. We got to pose with
some of Gearbox's new crazy characters.
Our first appointment on PSX Day 1 was PS VR. We traveled upstairs & got
to demo Rez Infinite. Good thing we made RSVP's.
Justine looking very futuristic. We came away excited for our
VR gaming future.
Dark Souls 3 had an impressive display. By pressing down a sword in the
front, the body shot out blood. Awesome.
Got to meet Greg Miller from Kinda Funny! He's a pretty cool dude.
Probably my favorite area of the show floor. So many good games.
Speaking of, Eitr was super fun. The dev ran me through a
few things before I got going.
Justine was on the opposite side, playing some Hatoful Boyfriend.
A must buy.
We went to panels, too! Here we are at the Uncharted 4 panel. Very cool
to see Nolan North, Laura Bailey & Troy Baker.
The future of fighting games panel was pretty rad, too. If nothing else,
seeing those three interact was great.
Lines were everywhere, but none of them too bad. The demoing set-ups
were all pretty nice. This is Destiny's SRL booth.
A nice pair of signs found around the event. Really loved that PlayStation put
the effort into inclusiveness at PSX. Their work showed.
Day 1 swag! Plus lots more not even pictures. Free posters, shirts, postcards
pins, bags, etc. The check-in reward system was a fun way to move around the
show floor. Walked away with $10 PSN credit + 3 free games, too!
Day 2. More PlayStation to be had.
The autograph wall. Very cool.
Cooler still, The Impact Factor made its mark at PSX!
We couldn't NOT do a photo op. Uncharted, Dark Souls, Battleborn,
Fat Princess, God of War
. Yup.
Day 2, finally waited in line to play Dark Souls 3. That counter is total player
deaths at PSX. I only died once in my 12 minutes!
I really liked the way the PSX booths were set up. Lots of
diversity, some functional some aesthetic. ABZU was awesome, too.
Lots of PlayStation characters around the show.
What better way to end PSX than with a little Capcom Cup finals!
The venue got pretty full. Very cool to see the pros play in-person.

Friday, October 16, 2015

News & Views
10/10/15-10/16/15

News & Views is your source for the week’s best video game writing! I found a lot of great articles for you all to enjoy. Check out below for links to writing about the neuroscience of survival horror, colonialism in Metal Gear Solid V, and gaming’s reinforcement of the ‘American dream’.

And of course you can check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Maral Tajerian, Gamasutra

Worth Reading
Reid McCarter, Kill Screen

Chris Kerr, Gamasutra

Omar Elaasar, Paste

Jeremy Parish, US Gamer

Askel Junkkila, Gamasutra

With Comments
Sarah E. Needleman, Wall Street Journal
The Legend of Zelda symphonic performance on The Late Show with Stephen Colbert inspired me to include this article. Orchestrated video game music can be amazing. I’m so happy to hear that these kinds of performances are drawing huge audiences back to the concert hall. While I understand criticism from long-time orchestra fans, I find most of their complaints unfounded. Perhaps video game music will get a new crowd to attend Tchaikovsky?

Riley Macleod, Kill Screen
Macleod gives a fascinating take on how video games have consistently reinforced for the idea of the ‘American dream.’ A dream that’s often an illusion, writes Macleod. His argument centers around how success is almost always represented as a feature of a person’s character, citing that in reality, you can do everything right and still fail. It’s a great perspective and well worth reading.

Kaitlin Tremblay, Unwinnable
Tremblay’s short piece about horror is a good one. Horror so often plays upon what it means to be humans, and the fear surrounding the human condition. Tremblay uses two of the most iconic video game horror franchises of all time, Resident Evil and Silent Hill to comment on this. To put it briefly, Resident Evil displays the fear of losing your physical self, and Silent Hill is all about the fear of losing your mental self.

Friday, October 2, 2015

News & Views
9/26/15-10/2/15

Happy October everyone! Fall is here and The Impact Factor is here to keep delivering content goodness to you all. If you missed it yesterday, I made a post about October Scare Fest 2015, my month long plan to watch as many new horror movies as possible! I hope you’ll follow along with me as I watch some (hopefully) great films.

This week’s News & Views features writing about Twitch banning games, headshots in Destiny, how Middle Eastern developers can counteract negative stereotypes, and SOMA’s narrative design.

And of course you can check out the brand new episode of The Impact Factor podcast that was posted today! You can subscribe to the podcast on iTunes, or if you prefer other methods, check out our SoundCloud. We’re on YouTube too!

Spotlight
Matt Leone, Polygon

Worth Reading
Alex Handy, Gamasutra

Jason Johnson, Kill Screen

Keith Stuart, The Guardian

Andrew Webster, The Verge

Lars Doucet, Fortress of Doors

With Comments
Robert Yang, radiator Design Blog
Yang writes about Twitch’s hypocrisy on banning streams of his games. Yang explores sexuality and bodies in game unlike any other developer out there, so it seems strange that despite the sexual nature of many other titles that are permitted on Twitch, only Yang’s seem to be targeted. Twitch really needs to get their banned games rules straight, and fast. In general, Yang is a great source of interesting game design and unique perspectives, so keep his work on your radar. It’s fascinating stuff.

Ethan Gach, Kill Screen
Gach writes about a phenomenon that’s all too common for gamers, but if often impossibly difficult to describe. There are moment in games that can resonate deep within your core. Usually it’s small things: like for me, when I hit the baseball on the thickest part of the bat in Backyard Baseball or the dull “thud” of downing an enemy player in Modern Warfare 2. For Gach, it’s Destiny’s headshot. Destiny has extraordinarily satisfying first-person shooter gameplay, and it’s great to see how it can affect its players.

Adrian Chmielarz, The Astronauts
Chmielarz provides a fascinating take on one of my favorite games of the year, SOMA. Through his experience as a game designer, Chmielarz dissects what he sees as the ‘lost layer of narrative design’ in SOMA. That is, how the world isn’t perfectly interactable, which results in moments where immersion and player engagement are (briefly) lost. While the phenomenon he describes didn’t really affect my playthrough, it’s still a treat to read how a game designer reacts to the design of similar titles.

Phillip Kollar, Polygon
Click bait title aside, Kollar’s article really got me think. What if SOMA is better than Bioshock? It is not a question I thought I would ever have to ask myself. But after reading through his points, I can’t say I totally disagree. An important note to remember, however, is that SOMA and Bioshock have totally different emphases and thematic content. SOMA explores parts of old school French enlightenment philosophy whereas Bioshock deconstructs Ayn Rand’s (bs) objectivism. I also appreciated Bioshock’s meta-narrative about that act of playing a game. The one thing I know for sure is that both are must-play, genre-redefining games deserving of your time.

Patrick Klepek, Kotaku
Klepek finds some of the best stories. A Twitter rant about how the electrical infrastructure in Dying Light’s city is completely wrong turned into a hilarious and genuine interaction between a developer and fans. Techland is now building quite a history of awesome social media moments (remember their ‘drink a glass of water, get free Dying Light DLC in response to Destiny’s preposterous Red Bull DLC content?). Cool stuff.