Counterpoint: Uncharted 3: Drake’s Deception

Counterpoint: Uncharted 3: Drake's Deception screenshot

Uncharted 3: Drake’s Deception is fantastic. If you own a PlayStation 3, I highly recommend you purchase it right this second if you haven’t already. Seriously. Just get up, leave this column for a minute — don’t worry, I’ll be here when you get back, everything’s gonna be okay — and go buy the damn game.

Got it? Great. Because I want to be very clear on this: I think Uncharted 3 is awesome. I think it’s a must-buy. I think it’s a necessary product to have in one’s gaming shelf.

I just don’t think that, as a game, it’s all that it could’ve been.

Uncharted 3‘s story will set it apart from the previous entries in the series with a darker, more focused tone on Drake’s weaknesses, flaws, and the recurring theme of — yes — deception. It will engage you and bring you to the verge or beyond of tears with some truly heartwarming and deep, meaningful moments. But with my own run of Drake’s tale now complete, I have a slightly disappointing statement to make: I didn’t have that much fun doing all of these things.

Chad wrote in his Uncharted 3 review that the game was “an even bigger thrill ride than the previous games combined.” And I would agree. But sometimes, you want to get off the roller coaster and take a walk through the hall of mirrors. That’s what ultimately bothers me about Uncharted 3: It’s so intent on making gigantic splash pages of action and thrill that what so charmed me about the series in the first place — the intensely charismatic cast and larger-than-life exploration, with some heavy emphasis on puzzle solving — all take a dive.

Despite having finished the game a mere three days ago as of this writing, there are hardly any scenes I can recall being genuinely surprised or enthused about, as the most exciting have been beaten over my head so much from commercials I know them moment by moment. The moments that stick in my mind as “that was so cool!” just aren’t there. By contrast, I could name nearly a dozen moments of Uncharted 2: Among Thieves without difficulty that bring an instant smile upon reminiscence: The giant knife puzzle, the train wreck in snow, the train chase in a jungle, the jeep chase, the tank shootout, the first glimpse of Shangri-La, carrying a wounded man on your shoulder, the initial heist and betrayal, the introduction of one of gaming’s most well-rounded female characters, Chloe.

That was Uncharted 2; unique, exciting, and memorable. In contrast, Uncharted 3feels to me entirely too familiar, too old hat. I know, I just criticized a game where you fall out the back of a cargo plane and drift through the desert for being unoriginal, but what I’m talking about here aren’t the individual pieces — which are beautiful and quite awesome — I’m talking about how Naughty Dog has strung them together. The thought of “What if something cool happens next?” can’t be enough to make me go from Point A to Point B. I need to enjoy the product as a game, and therefore want to succeed and enjoy all it has to offer as a narrative device.

Minor spoiler ahead.

Early on in the game, Nathan’s crew breaks up into two teams. One searches for half of an amulet in Syria, the other in France. The plan is to regroup later, once both teams have completed their objectives. Something goes wrong in France, and so that team concludes that logically, something has probably gone wrong in Syria. They travel post-haste to rescue the other team and after about 15 minutes of wandering through a castle, find their partners alive, healthy, and in no need of rescue.

Team A complains to Team B about not having been able to contact them for 24 hours, to which one member responds that her cell phone is broken, while the other member only uses prepaid minutes.

It was funny as a joke, but the more I thought about, the more contrived and forced this felt. Because let’s face it: really? You’re going to go on a globe-trotting adventure halfway around the world from your friends who need to coordinate with you, and you can’t spend $20 on a phone card? Or you can’t take it in to get repaired? For shit’s sake, my phone was freaking out three months after I bought it and I got a new one on the same day I brought it in. Not to mention the only fact I as a player am experiencing Syria is to rescue some a-holes who couldn’t be bothered to tell me this before they left, and now don’t need rescue at all.

End spoiler.

I can see through the game, and instead of being swept up in the current of strong storytelling, I can’t let it go. My mind won’t let me for the longest time. When it finally does, it’s no longer in any sort of mood to be wooed by Nolan North’s sexy voice. Because now it’s found a new thing to fixate upon: combat.

I’m not an awful gamer. I prize story and art direction above gameplay sometimes, but I’m truly not terrible. Hence I found myself somewhat mystified at the incredible spike in difficultly so many of the shootouts exemplify. In the same level that I’ve “rescued” my teammates, I face down four+ baddies with rocket launchers. There’s only about two positions that offer cover, neither of which completely shields from all sides. The checkpoint starts with rockets already trained on me, and so every time I die, I must scramble for cover immediately, hoping to God that this time, this time will be the time I can snipe quick enough to take out these one-shot kill machines.

Later in the game things will become even more ridiculous, as one particular fight sends me up against what at first appears to be a room of three to five bad guys, only to have snipers, grenade launchers, and armored shotgun wielding juggernauts advance on me in seemingly endless waves, each one of them all too happy to toss grenades behind me as I duck for cover. While Drake’s moves in hand-to- hand combat are now more robust, it’s become practically impossible to quickly disengage from a fight to take cover, and the exact same sequence of moves plays out against so many of the enemies.

My brain knows it’s playing a game, and a frustrating one at that. It doesn’t give two shits about the story anymore. Instead, it screams and curses, rattling my eardrums; “Why the #$%* does it take three grenades to kill someone wearing armor??”

The final straw comes as the close of each location plays out virtually the same: stuff begins to collapse or otherwise start Drake on a foot race, the camera pulling back to let the player look on in awe as the set literally crumbles. It’s as far away from the spirit of an adventuring explorer as it could be; instead of slowly exploring, searching for lost treasures or the best route through an area, the game is literally forcing you several times to move as fast as possible on a narrow track without branching off at all.

It was surprising to me, just how much of a departure Uncharted 3 was from the other two entries. The story is darker and some characters more complex, but at the cost of less screen time for the majority of the cast, who become less like people and much more like obvious plot devices to get Drake from Point A to Point B. The pacing is more thrill-a-minute, but virtually gone are the moments of high suspense and deep pause to reflect upon overwhelming scale and beauty. And lastly, the gameplay is more engaging, but so goddamned difficult and out of place when placed in context of in what should be a game about an explorer and treasure hunter.

Uncharted 3 is great. It really is. I love the characters, locations, and overall plot. But in my humble opinion, there’s some truly out of place and out of touch gameplay that gets in the way of that. And that’s sadly not very “Uncharted”; it’s just unfortunate.


Flawed report paints grim picture for handheld gaming

Flawed report paints grim picture for handheld gaming screenshot

A report came out today comparing the revenue of handheld gaming devices to that of mobile devices. Done by mobile analytics firm Flurry, the study finds that a great shift has taken place over the past three years. Between 2009 and 2011 (with the last two months of this year being projected based on data from previous years) mobile game sales have gone from 19% to 58%. Nintendo DS game sales have dropped from 70% to 36% while those of the PSP have gone from 11% to 6%. 

Android and iOS market shares have also skyrocketed, going from about 20% in 2009 to almost 60% this year with sales of mobile games jumping from $500 million of $2.7 billion total portable gaming sales to $1.9 billion of $3.3 billion in the last three years. Adversely, Nintendo’s stock is down, although Flurry fails to mention Sony’s handheld at all other than to include it in the three year percentage chart, and ignores sales for 3DS games.

While it is nice to see that mobile gaming is doing well, this report feels unbalanced. I understand that Flurry is a mobile analytics firm and so will want to sing the praises of mobile devices, but there are ways to do it without tipping the scales (and how much do they need to be tipped, really). Although Android and iOS devices are relativity similar, they aren’t identical and I wonder why they felt the need to make them a single category while keeping handheld devices separate. The firm has also completely ignored the 3DS. Granted the 3DS is new, and its sales may not make a huge difference, totally ignoring it makes me less willing to take this report seriously. It would, at the least, give a more balanced view of where mobile devices stand when compared to handheld gaming devices. 

I’m not saying that mobile gaming is small or should be ignored, it is doing well and revenue is clearly up but the report has a pretty obvious slant. Reports like this are interesting, and do have some important information in them, but it would be nice if they would present all the facts rather than picking and choosing to suit their needs.

Take-Two hints there’s a future for L.A. Noire

With Team Bondi disbanded, the future is uncertain for Rockstar’s newest IP, L.A. Noire.

We’d love to see an improved sequel though and we could still see it if a recent Take-Two investors call is anything to go by. Speaking at the call, CEO Strauss Zelnick said of the game: ”This groundbreaking title from Rockstar has set a new standard for video games with cinematic art and has become an important franchise for the company.”

It sounds like the company might not be finished with this IP just yet, then. A Complete Edition of the game is heading to PC and consoles this month, but maybe we’ll hear of something new soon.

Xbox Live Indie Games: meet an unforgettable purple goat

Xbox Live Indie Games: meet an unforgettable purple goat screenshot

Maybe you’ve never heard of MagicalTimeBean, the studio behind the highly addictive tower defense/adventure titles Soulcaster and Soulcaster II, but if that genre doesn’t appeal to you, maybe Escape Goat will.  Featuring a purple goat and his (or her?) wizard hat-wearing sidekick mouse, Escape Goat is a retro puzzle title that was recently released on the Xbox Live Indie Games market place featuring over 50 unique levels, an amazing soundtrack, and some clever game mechanics.

I refer to MagicalTimeBean as a studio although all the game’s design, programming, artwork, and music were created by the studio’s single employee, Ian Stocker.  Believing that music is one of the most important elements in a game, he’s also offering his Falcom-inspired soundtrack for a name your own price digital download on Bandcamp, although you can also stream it for free.  The game’s available for 240 points, and while you’ll probably be able to blow through it in an hour or two as the puzzles range from moderately difficult to intentionally easy (these generally involve cool things happening on the screen as a sort of reward), the game’s really a blast, and the soundtrack is, once again, top notch.

Check it out for yourself and let us know what you think.  Did you pick up on any of the game references found throughout Escape Goat, and can you see this lovable purple goat joining the ranks of dolphins or even corgis as the most cherished animals of all here on Destructoid?

Driver sells better than expected

Three cheers for Driver: San Francisco, which has beaten Ubisoft’s expectations, sales-wise, along with a number of other titles from the publisher (via Eurogamer).

The company’s latest quarterly financial report reveals that both Drive and From Dust sold better than expected, though initial sales projections of indeed figures themselves weren’t given.

CEO Yves Guillemot said of the results: “First-half sales have come in around 30 per cent higher than our initial targets.

“This performance reflects: an 85 per cent growth in our online segment; a solid showing by our back catalog, driven by Just DanceMichael Jackson The Experience and Assassin’s Creed Brotherhood, which confirms players’ enthusiasm for these flagship brands; and better-than-expected sales for Driver San Francisco, boosted by very good reviews.

“Our strong sales figure drove another sharp increase in gross profit and enhanced our earnings performance.”

With Assassin’s Creed: Revelations and Rayman Origins gracing Ubisoft’s holiday line-up, it’s sure to be another strong season for the publisher.

Epic wants UE4 ready at or near next-gen launch

Epic Games wants in on the next-gen console business early, president Mike Capps has said. The developer is in fact already discussing its in-the-works Unreal Engine 4 with roughly 16 hardware manufacturers, console manufacturers among them.

“I want Unreal Engine 4 to be ready far earlier than UE3 was; not a year after the consoles are released, Capps tells Develop.

“I think a year from a console’s launch is perfectly fine for releasing a game, but not for releasing new tech. We need to be there day one or very early. That’s my primary focus.”

On the studio’s “Samaritan” demo, which was designed to show what the next generation could possibly look like,  he added: “It was just that no one knew what a next-generation game would look like – so that was our idea, to show people what we can achieve.”

Epic believes that what was present in the demo is ”achievable at a reasonable development cost, so it’s what gamers should be demanding for next generation.”

“I think it’s very important that a gamer sees an Xbox Next or PlayStation Next and can clearly see the tech is not possible on current consoles. Otherwise they won’t be a success.”

Bubble Bobble on drugs: Deepak Fights Robots

Bubble Bobble on drugs: Deepak Fights Robots screenshot

The new game from RunMan: Race Around the Worldco-creator Tom Sennett is an arcade-style platformer called Deepak Fights Robots. You need to give it a look, simple as that. Assuming you have access to a PC (Windows or Linux) or a Mac.

In addition to being a talented game designer, he knows a thing or two about making awesome, eye-melting websites and is more skilled with MS Paint than I’ll ever dream to be. Deepak Fights Robots is his first venture into paid-indie-game territory; I hope it’s a success.

I’ve played through the game already, so let me give you the highlights.

Deepak Fights Robots is, in my opinion, best described as Bollywood’s psychedelics-induced take on Bubble Bobble. What it lacks in pure dancing delight is made up many times over by the inclusion of tigers, groovin’ sitar jams, and one seriously manly Indian mustache.

The game is broken up into quite a few short levels, with the common goal always revolving around you grabbing shiny collectibles. (I’m not entirely sure what they’re supposed to be.) Something about a robot pimp locking you in the Cave of Robots, so sure, why not? Who cares what they are.

Get ‘em all without bumping into any enemies, and you’ll go into invincible-superhero mode. You then complete the stage by blasting all of the enemy robots in the most heroic of fashions. Quick, fair, and fun — like I said, this is an arcade-y game.

Dying merely restarts the level, instantly; I’ll add that I never once felt frustrated upon totally blowing it. There are also items to collect for points — there’s a big ol’ leaderboard at the end of the game — and you can also pick up animal pals like the aforementioned tiger to give you an extra hit’s worth of life.

The music is amazing. It’s by Family Funktion and the Sitar Jams. The soundtrack meshes perfectly with the equally bizarre and charming visuals — it pushes you to keep playing just one more level. As per usual, Sennett’s art doesn’t play particularly well in screenshots, but it’s always a treat to see in motion. Think Yoshi’s Island as recreated in MS Paint on a tight budget.

Deepak Fights Robots isn’t terribly long, and $9.95 (even with free lifetime updates) can be a lot to ask of some of the more frugal readers in attendance, but it is fun throughout. That’s more than I can say for most games lately, independent or otherwise. I’ll take quality over quantity any day.

Also, there are cows that inexplicably wear glasses. Love it.

Deus Ex to receive ‘The Missing Link’ in October

Deus Ex to receive 'The Missing Link' in October screenshot

How does some downloadable content for Deus Ex: Human Revolution sound? On the game’s official site, a post describing the first add-on has gone up. Dubbed “The Missing Link,” it will fill in three days of the main storyline in which Adam is trapped on a freighter with his augmentations left disabled.

New environments and characters are promised, and it sounds like you’ll have the opportunity to (at least temporarily) rebuild Adam’s augments. I think most of us could use an excuse to try a different loadout without starting a brand new save file from the beginning.

Platforms and price points haven’t been divulged, but the post says this content will drop in October.

Carmageddon: Reincarnation announced

Carmageddon: Reincarnation announced screenshot

Last week, we turned your attention to a countdown clock ticking away at the Carmageddon official website. It’s number is now up and, as you might have suspected, it’s the announcement of a brand new installment in the violent driving series. Stainless Games has reacquired the IP and is currently looking for a publishing partner for Carmageddon: Reincarnation, a download-only title. 

After more than a decade, Carmageddon is seemingly back. That ought to tickle a fancy or two. I don’t recall playing more than twenty minutes of any game in the series and it’s been so long that I doubt I would remember even if I had. But I know that fans do exist and they’re no doubt bouncing with glee right about now.

Google takes down another Android emulator maker

Google takes down another Android emulator maker screenshot

ZodTTD, the developer behind a PlayStation emulator for the Android OS, was shut down recently. The software was pulled down off the Android Market. Now another developer follows, possibly pointing to Google’s desire to keep things clean and legal on their Market.

Yong Zhang, an Android dev that had several emulators lined up for the OS, has been locked out of the Android Market. Ars says that his applications were removed from the store and his account was terminated by Google without warning. Zhang had a SNES emulator in the works called SNESoid. Some allege that code may have been taken from another popular SNES emulator, snes9x. 

I’m sure Android users aren’t in a panic yet. There’s plenty of emulators to go around for now. I don’t know how long that will last, though. With devices like the Xperia Play coming out, it won’t make sense for software that permits the use of illegal ROM copies to be available alongside more official offerings.