UNCHARTED 4 MOVIE
UNCHARTED 4 PS4

The player is driven forward by the story, too, lured by SamвЂ™s promise of a surprise he has for Nate. Instead, the chapter is devoted to developing the relationship between Nate and Sam, who talk and joke as they make their way out of the grounds, doubling as NateвЂ™s introduction to the kind of climbing that would become an integral part of his adult life. The orphanage itself is linear, offering Nate little action to uncover. By any typical big budget gameвЂ™s standards, this would be considered a slow opening. The gameвЂ™s first chapter - following an explosive boat chase in present day - is a flashback to young Nathan Drake, escaping with his older brother Sam over the rooftops of the Catholic orphanage where they grew up.

Whereas the original trilogy and The Last Of Us are paced by and large like action games, A Thiefs EndвЂ™s plot (and gameplay) unfurl just as a filmвЂ™s would. ItвЂ™s more that in its opening hours, Uncharted 4 is not afraid to take its time.

UNCHARTED 4 PS4

IвЂ™m not just talking about visuals, although Naughty Dog makes the PS4 produce scenes that the hardware probably shouldnвЂ™t be capable of. While Uncharted 4 is made in the same vein, it frankly goes further than any other big budget game ever has toward merging games and film. Sure enough, playing either the Uncharted trilogy and The Last Of Us, itвЂ™s easy to see Naughty DogвЂ™s love of film and writing.

UNCHARTED 4 MOVIE

Though they already had a great reputation for solid and memorable games by the time the original Uncharted was released in 2007, it was that first step into the PS3 era where they began blurring the line between a movie experience and something interactive. Look at sales records and whatвЂ™s on store shelves, and the results of that process are pretty obvious: a lot of bigger games on the marker donвЂ™t often feel like much of an evolution.ДЄ lot of huge games are also not made by Naughty Dog, arguably one of the few studios that keeps storytelling among the very top priorities of a triple-A experience. Creatively, it means that most developers canвЂ™t take risks the same way smaller and more nimble independent projects can. Lucrative publishers tend to play it safe with their slates of yearly titles - an annualized sequel here, an open-world game there - in order to better ensure strong profits. Innovation and big budget games are often distanced by necessity.