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Uncharted 4: A thief's end (Complete analysis)  Uncharted 4: A thief's end (Complete analysis)

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In the Making of of the jungle of glass 3: revenge - the film more times I've seen in my life - the director John McTiernan and special effects makers tell us to what point was complicated to record the scene of the explosion on the subway from Wall Street. The last wagon derailed thanks to a mechanism in its lower part as extras, who had been listening to the explanations prior to shooting with some fear, run really so not you caught them train. And however, all that jaleo is it of less: what is reminds of that scene, what you da sense, are them giggles and them snorting of John McClane, that appears between the smoke bruised but happy, by have mocked the death again and because has already another good history that count.

That is the action hero that we like. He knows that the joke is a very powerful feeling, a way of life. In video games there has been many as Nathan Drake. Hell, there was none. And I don't know if it will have the same good in that. It is very rare to have to lay us off already, but I guess it's the best; also about the importance of knowing be removed when toca can tell us four things Lieutenant McClane.

4 uncharted: Thief s End it is, effectively, a goodbye. One that even had the own Nate, already accustomed to his normal life, his work, his wife and their discussions about touches who washing dishes. Neither expected that the perfect excuse to go in search of a last pirate treasure; came from his brother Sam, who was believed dead for years, the most large of all, if it is really true what they say about the fearsome Henry Avery. The conviction with which Naughty Dog embraces again to the clichés of the genre, knowing you don't need much to make history take to roll is admirable. Not complicated when we talk about the family or what, for better or worse, everyone must learn to leave behind; they are themes that appear with an exceptional naturalness and help that the game feel incredibly alive.

Many should take note, I was going to say. It is common to put these people as an example for almost everything, come up with superlative praise and a discourse that comes to sound hyperbolic. It is very likely that some find tiresome and others many look them even frustrating, but the worst, the most unjust, would be not to recognize the merit of his work: here are the best animations I remember having seen, several of the most spectacular action scenes that has given the middle and as little half a dozen places or situations that It is not a way of speaking, cost of believing. Away from the free brilliance, the attention to detail - at a level that moves between the absurd and the literally overwhelming - responds to the obsession of its responsible for humanizing the characters in Uncharted 4 and to support them almost the entire burden of the proposal. It's a brutal effort that is bearing fruit at all times: know exactly what thinks Drake when, while we move quietly into the next objective, touch the ring with some concern.

To make clear the importance of that relationship with others, the protagonist is accompanied for much of the adventure. It is a good trick - the same one that was used with Bruce Willis and Samuel L. Jackson, with Joel and Ellie - in order to get more dialogues and relaxed pace, making it less dependent on the shootings and bridges collapsing; any trivial conversation, thanks again to the charisma of those who speak, serves to be one the feeling that will be happening things though, scanned with the coldness of whoever has eaten his own heart for lunch, take several minutes hitting a few jumps and now.

But there is also, of course, shootings and bridges collapsing.

Because he knows that it is there where more quickly runs out of track, part of shooter third person in this installment has less weight than in the past. It costs surely do better without more specific mechanical and not delve into that part of the design in a way that Uncharted is not interested or want to. It is still a light experience, by gender and by which means to gather "game" and "film", although all related to the shooting and the use of the coverage is well resolved. The developments in this regard, on the other hand, again to expand the boundaries of the formula: the hook is a good ally of transversality and stealth works despite offering few options before a permissive IA, which lends itself to the show; understand that it usual will be load is to four or five without you see and from there, when the plan is twist, improvise with the shotguns and the machine guns that have more hand. In any case, the environments are properly prepared - there are more ways than ever to reach each site - for those who prefer to clean a camp without being detected or even, occasionally, pass long confrontation.

The best, without doubt, is in combat melee. The executions and them whack contextual touch ceiling with movements exaggerated satisfactory, elaborate and varied; during the forced Hurrah, the section with more clashes, still saw smite that had not gone in twelve or thirteen hours.

The scale of the game is adapts perfectly to that action more spaced, with environments much more broad and views amazing to reinforce the idea of the exploration; by many mercenaries who cross your path, the main thing is to find an X on the map, following the trail of the last track in your address book. Detours or long distances, however, significantly alter the structure of a game that is still linear like that more, with masterful control of the pace and an ability to tremendous Guide - to follow, if you sound better; never is it brings us the hand more than it should - the player. What you get, if anything, is to have more tools to create contrasts and win in variety: pass of the routine and the everyday to the extreme risk of claustrophobic ruins to refreshing rides by boat or Jeep.

And precisely because it increases the range of emotions and situations, the problem that has finished running into Uncharted is seen with special clarity: exception come standard. Brightest from A Thief s End always happens outside shootings, climbs, jumps, and puzzles. It is nothing worrying--as neither are, by the way, few fatal falls unfair and poorly justified barriers that remain as evil Vice-, and in fact it is normal that the best racionen moments, which peaks are understood as rewards that would be it should appear more frequently. However, and very high quality margins, it is soon clear that elements of the game that most are repeated are also the worst. And despite improvements in control, especially when climbing rocks and - can now stretch the arm with greater freedom to hold on to a nearby ledge without unnecessary brincos - facades, and a more restless camera than usual, which approaches or moves away from the characters with subtlety depending on what you want to convey. And because the alternative is no longer only in those blessed palomiteros scripts, with impeccable transitions and leaving the player keep a little control to avoid losing; as much as the more frenzied Chase enjoyed the purely contemplative moments and reflections from a Chair that has not had used in three centuries. The medium term - insist, necessary and terrific - might feel a little out of place.

I guess that, knowing that this would be the last, many were afraid of Uncharted 2. But the more elongated shadow, I believe, has turned out to be The Last of Us. I fear that there, a product slightly more contemporary and memorable, still being the best version of Naughty Dog, which goes several steps by front. For to follow your road, and not is coincidence that the game go precisely on that, Druckmann, Straley and the rest of the Studio needed leave back to Nate, Sully and Elena. Uncharted 4, the best installment in a saga to frame, is the perfect farewell they deserve. «Sic Parvis Magna», surely Yes.

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