Uncharted 3: Drake's Deception

Uncharted: Drake's Fortune managed to successfully blend together third person shooting and traversal-based platforming into something that was coherent and mostly fun to play, but it was the kind of thing where most people saw it as untapped potential. That potential was pretty much fully exploited in Uncharted 2: Among Thieves, which greatly improved the graphics, environmental sophistication, dynamism of the plot, and basically everything about the gameplay to be better, creating a unique and exciting shooter that could pull off large, spectacular events like few games even attempt. Really only the God of War series goes for the same concept of the environment changing around you like Uncharted does. It allows its shooting mechanics, which are a bit less solidly formed than some other games, to pass by without too much scrutiny, and makes just seeing what happens next as thrilling as actually playing the game. Uncharted 3 had a different goal - not to capitalize on potential, but to live up to a beloved classic. It's a goal that the game mostly succeeds at, though not without a couple bumps.

For better or worse, Drake's Deception is pretty much a second take on the same concept as the second game - let you play as a guy who trots all over the world, looking for clues, crossing dangerous gaps, shooting every bad guy in sight, and escaping from very dangerous and exciting predicaments. The story has a slightly different focus, feeling like the slightly darker sequel that series sometimes experience, but never veering too far from the lighthearted adventure tone we've gotten used to. A lot more time is spent developing the friendship between Nate and his mentor Sully, instead of leaning towards his romantic interests. It's just as well, since that part of the story plays out in pretty much the same way it did in the first two games. The plot even goes back in time on occasion, to show a much younger Nate, which provides a neat gameplay twist and some illuminating character development. The villain is also different this time, relying less on trying to beat Nate into submission and more on deceiving and outsmarting him. The cat and mouse is fun, though it falls by the sideline after a while.

In general, the last third of the game feels a bit rushed. It takes a more personal approach, showing the hardships and isolation he goes through, something we aren't really used to with this series, and I kind of missed the fun of him having his buddies around. It also results in the ending being undercooked, as we don't really fully learn what the villains are really up to or the meaning of certain plot elements. It's a bit disappointing to feel that way about the end of the game, but the benefit of the game not wearing out its welcome balances it out a bit. In the first two games I was definitely tired of the combat by the last couple chapters and ready for it to be over. That wasn't really the case here, as Uncharted 3, while having a couple annoying moments like every shooter ever made, managed to finish without it become a major burden. The changes to the gameplay from the second game are mostly small tweaks - Nate can now throw back grenades enemies toss at him, and it's less of a hassle to pick up ammo, and in general the encounters do a slightly better job of creating unique scenarios that play to the series' strengths. The platforming and puzzle solving are pretty much the same as they've always been - not too tough, but engaging enough that you look forward to them when they pop up. The game doesn't have any annoying forced stealth sections, which is nice, and they improved on the melee combat, occasionally making you take on groups, letting you worry about guys coming from multiples directions and make use of objects near you for more damaging blows.

And technically, the game is just outstanding. Even when things aren't going crazy, they look amazing. The textures and lighting are fantastic, Drake's dynamic running animations are more natural than ever, and the facial animations look better than ever. And when things do crazy, it's always impressive and memorable. Floating docks and boats rocking in the waves, entire structures turning sideways as you run through them, the ground collapsing underneath you, the plan sequence that it's unfortunately impossible to be spoiled on - these sequences both look incredible and provide gameplay experiences that other games just don't have. Fundamentally, there's not a big difference between climbing a fence and climbing the netting of a cargo truck hanging out the back of a plane, but just the feeling each one evokes is distinctly different. It's just a fun world to run around in, one made more fun by the memorable musical score and great voice acting by the familiar cast, which continues to grow and help create a very enjoyable story.

The single player is a great eight hour experience, that in my mind measures up to the general very high level of quality of the second game, and surpassing it in someways. The multiplayer is also a lot of fun, and helps extend the life of the game. I played through the entire co-op adventure mode with a friend, which was a nice, rewarding challenge, and also tried some other co-op stuff which was a good deal of fun. I didn't actually try any of the competitive stuff, but that stuff never interests me as much anyway. Uncharted 2 will probably be remembered better in the future for being new and original, but Uncharted 3 definitely deserves a spot alongside it as one of this generation of gaming's best action adventures.

Movie Update 28

These are some pretty runty-ass movies! They weren't bad, though.

The Good German

I've only seen two films by Steven Soderbergh, which both happened to be very populist and not terribly original. But he's known as a very experimental filmmaker, at least by Hollywood standards, and even if you don't like The Good German very much, you have to admit it's ambitious. I ended up enjoying its modern day take on lots of old noir tropes, but more interesting than the film itself is the way it is dedicated to the style of the period. It's in black and white, and more than that the way it was filmed is very much the traditional old way, with old cutting and old blocking and everything. It doesn't really actually look like it was made in the 40s, because of the lighting, and because of the weird disconnect with the very modern standards of sex, violence, and language. I don't understand the point of going this far with replicating a look without replicating a tone as well. But you can't say the whole thing isn't interesting. And I think George Clooney and Cate Blanchett make a good pair on-screen, anyway.

The Red Badge of Courage


A war film by John Huston, based on a book about a soldier in the Civil War who fears death and yet yearns to earn his own war wounds and be looked well upon by others. It's an odd movie for a couple of reasons, most notably the incredibly on-the-nose narration, which not only directly quotes the original novel but also addresses the audience in a weird, hitting-you-over-the-head kind of way. It definitely wasn't surprising that this was added by the studio against Huston's wishes, and that they also cut the film down to its scant 70 minute running time, which is hardly enough time to develop themes, especially when so much of that time is just Huston's (admittedly well shot) war scenes. There's the potential for a great 50s war movie in here, but it was lost between filming and release.

Tetro


Francis Ford Coppola's post-70s career is frustrating, showing little evidence that a man who could create a film as perfect as The Godfather still knows what he is doing. Tetro is interesting though, a more personal project than most of his other work, about a couple of estranged brothers who reunite in Spain. It's shown in black and white except for flashbacks, and shows the devastating effect certain actions can have on family ties. It's not exactly the most entertaining movie ever, but there's definitely some stuff going on here that you don't really see in most other movies. It's also really nice to look at, with some stylistic experiments and just really good cinematography throughout. Definitely the best thing I've seen by him that was released in the last 30 years.

Thor: Tales of Asgard


That cover is misleading; it shows a grown up Thor, but the film takes place in his more formative years, before Loki was evil, and before Odin even allowed him to venture out of Asgard. At least they didn't extend the lie far enough to show him holding the hammer. Tales of Asgard isn't much different from the other Marvel movies, being competently animated and telling a pretty standard story, although being Thor, it's less a typical sci-fi action plot and more a typical fantasy one. Thor goes on a journey with Loki, hangs with the warriors three, gets help from Sif, and accidentally gets into some bad shit with the frost giants. As a supplement to the live action film... it's fine. There's nothing terribly exciting about it, but it doesn't really mess up anywhere either. It's a way to pass 70 minutes if you like comic books, I guess.

Source Code

Duncan Jones is now two for two with science fiction films that are well made and visually appealing, have intriguing concepts, and are entertaining to watch reach their conclusions. Although Jake Gyllenhaal's central performance isn't as gripping as Sam Rockwell's in Moon, which pretty much had to carry the entire film, he's good enough to lead a film that I otherwise thought was a little better in most other areas. When I first saw the trailer for Source Code, it seemed like a silly idea. They seemed to be depicting the main idea as a simulation of the last eight minutes of a train ride before it blew up, not actually altering events but observing them to figure out what happened. Gyllenhall's inability to grasp the concept of being unable to save the already-dead victims made him seem dull. It works a lot better in the actual film, when they lay out that he's actually being repeatedly projected into an alternate universe that the source code creates, rather than basically just watching a static event over and over again. Some bits that don't quite make sense are hand-waved away with simple catchphrases like "genetic mapping" or whatever, and they don't really go into how these parallel realities are actually created. But it's not hard science fiction, and as a way to set up a twisty, exciting thriller, it's more than enough.

I really liked Gyllenhaal's character, a military helicopter pilot who wrestles with trying to grasp the situation he's in, helping with the mission he's been given to help prevent a larger attack, and striving to find a way to save the train passengers, especially the girl played by Michelle Monaghan that he sits across from. She doesn't have a lot to work with, being stuck in the same eight minutes of plot as along with the other passengers, but she's cute and likable and pretty easy for Jake to fall for. His attraction contributes to his larger attempt to do more than just solve the attack, something which his handlers tell him he can't do but you become unsure of over time. Vera Farmiga plays his main contact in the real world, an operator who has to balance her duty with her obvious sympathy for his situation, and does a nice job with it. I was less pleased with Jeffrey Wright as the creator of the source code project, who is a bit too obviously evil and uses an odd gravelly voice, but he doesn't damage the film much. The plot has the expected twists and turns, and resolves in a way I quite liked examining angles of the concept in ways I wasn't expecting, and bringing the different story elements to a united conclusion. There's lots of really good imagery in the movie, stuff that seems simple but helps add up to the sort of movie that could have been a lot weaker, but manages to capitalize on its potential quite well. It's too bad that Jones says he only wants to make one more science fiction movie before stopping for a while, because he seems to have a real knack for pulling it off.

Resident Evil 5

It's not really a surprise that Resident Evil 5 is not as good as Resident Evil 4. It's not an insult to say that either, because the latter is one of the best games to come out in the last decade. 5 takes the core gameplay and design philosophy from 4, and expands on it in a new setting in some ways that are interesting, and in other ways that will leave you scratching your head. It's probably a more ambitious game, but on occasion its reach exceeds its grasp. When it's just following up on what 4 did right, it's a perfectly serviceable action game. It gets sketchy in other places, but at least it never goes completely off the rails.

The biggest change to the series is pretty obvious; the entire game is designed to be played with two people. The first player controls Chris Redfield, a recurring hero of the franchise who's worked out quite a bit since the last time he was seen. The second player controls Sheva, his lithe but functionally identical partner during his mission in Africa, where a nefarious biological arms deal is going down. They support each other through the entire game; healing each other, saving each other from danger, sharing equipment, and working together to get past certain obstacles. Even if you're playing alone, Sheva will still be there, controlled by the AI. This is the way I played the game, as more than two years after the game came out I didn't like the odds of finding a reliable co-op partner on the PS3. For the most part, the single player mode works just fine. Sheva stays out of danger reasonably well and isn't overly wasteful with her ammo. There are some situations though where she's kind of a millstone, notably when it would be best for no one to use any bullets at all or when the correct strategy is to attack an enemy from two directions at once. And unfortunately, these situations seem to pop up more frequently as you continue through the story. I was genuinely annoyed by the execution of the one player mode on a couple occasions before I managed to get to the end. All things considered though, it could have easily been worse.

Besides the two protagonists, it's more or less more of Resident Evil 4. You work your way through African villages and swamplands, eventually reaching more unexpected areas and the inevitable top secret research laboratory near the end. I never really stopped to think too much about the whole race thing. It is a bit odd to be playing a game about shooting a bunch of African civilians, though to be fair they're fairly racially diverse and trying to kill you. There were definitely some weird choices that seemed to be the result of ignorance or insensitivity though, especially involving the more natively tribal enemies you eventually run across. Just looking at it as an action game about fighting zombie-like monsters though, as well as their many amorphous and/or insect-like allies, it does a pretty good job of keeping things fresh and reasonably challenging without getting too frustrating. I became less happy with the general design as things went on, though. A chapter taking place in an underground temple was interesting in theory but not especially well executed, and later they implemented some pretty sloppy cover mechanics and poorly thought out boss fights that the controls didn't really support. When you're just trying to stay out of arms reach of disorganized, mindless hordes, Resident Evil 5's controls are fine. When you have to worry about guys firing guns and coming at you from multiple directions though, it gets dicey. It's never too bad to stop the game dead, but it probably wasn't the best direction to take the second half of the game.

As far as bringing Resident Evil to the current generation, I think they did a good job. The graphics still look nice now, with some really good character modeling and animation, especially on the main characters. The sounds are very familiar if you've played 4, and still work effectively. The voice acting also is a bit less terrible than series fans are used too, though some characters are just wretched in that way where you can't tell if they were serious or not. The story attempts to connect the Las Plagas plot from 4 with the Umbrella and Wesker stuff that came earlier in the series, and does a reasonable job of doing so, though honestly the entire history of the series' fiction is some pretty silly, stupid stuff. It's a weird pastiche of supernatural and science and horror and action, and while I kind of enjoy the absurdity of it all, I would hesitate to believe anyone who claimed to know whether this was actually going anywhere or care that it did. It's flimsy justification to have a game where a couple of special forces guys fight zombies on motorcycles, giant pulsating piles of tentacles, and guys in trench coats who look like they walked off the set of The Matrix. And that's all it really needs to be. The Gold Edition packs a bunch of extra content, mostly all the downloadable stuff that was released in the period after the original game came out. I haven't actually dug into that stuff yet, but it certainly seems like plenty of value for the package. It would have been really hard for 5 to reach the classic status that 4 did, and it didn't reach that goal. But it's still an enjoyable game anyway.