"Uncharted 2 was the game that changed everything, redefining the third-person genre, setting new standards in technology, production values, characterisation and gameplay"
"Uncharted 2 revolutionised third-person action games by being able to stage action on moving objects. In the sequel, these objects now obey the game's laws of physics, allowing for moving platforms on the ocean and containers rattling around the interior of the cargo plane"
این فقط توصیفهای
یکی از nتا سایتی هست که درباره عظمت Uncharted 2 و انقلابی که کرد، حرف زدن. Digital Foundry.
پ.ن: منطق شما اینه که Batman سیستم مبارزات جدید تعریف کرد تا بازی مثل MadMax ازش استفاده کنه. ولی انقلاب U2 رو نادیده میگیرید چون کمتر بازی عیناً ازش کپیبرداری کرد. در صورتی که U2 سطح جدیدی از طراحی مرحله رو به وجود آورد. هنوز هم بازی کردن U2 از بازی کردن کلی بازی دیگه، حس تازهتری رو منتقل میکنه.
اوه چند نفر ب ی نفر
خب اول از شما شروع کنیم دوست عزیز.
اول من ی نکته ای رو بگم ، تازه از بالا بهم گفتن ....لغت "سینمتیک " یا همون سینماتیک ....توهین نیست .... و اصلا هم نکته منفی نیست ... خواهشا هر کسی همچین فکری میکنه یه تجدیدنظر بکنه . من خودم از طرفداران این مدل بازیام.
خب چرا از دیجیتال فَوندری نقل قول گرفتین ؟ دیجیتال بخشش کاملا مشخصه ...اسمشم روشه .... درپایان یه تعریف کلی از بازی هم میکنه ، ولی بحث تخصصیش دست منتقد هست . به هر حال :
تاریخ انتشار مطلب شما :
By
Richard Leadbetter Published 05/11/2011
حالا آخرین صحبت های
منتقد و ادیتور ارشد یوروگیمر
تاریخ انتشار : By
Oli Welsh Published 09/10/2015
البته من در بالا فایل صوتی هم از یک ادیتور ارشد دیگه دادم ، جف گرتسمن، کافیه یه جستجوی کنید و اعتبارشون رو بسنجید. به هر حال به صحبت های این منتقد دقت کنید :
بحث سینمتیک بودن بازی و منم اشاره کردم فوق العادست درین زمینه :
rewrote the rules of
cinematic action gaming to such an extent that competitors were left scrambling for the reboot button
و حالا بحث های بعدی، "انقلاب" این نیست (انقلاب هم منظور گیم پلی هست، این از اول هم مشخص بود) سردبیر کیوان و تمامی دوستان دیگر :
They also have personality and humanity, embodied in their wisecracking everyman hero, the perfectly imperfect Nathan Drake. But their limitations are pretty clear, too. Naughty Dog's devotion to a
very cinematic ideal of a playable action movie is so total that the games can be guilty of railroading the player - and its refinement of gameplay consists mostly of smoothing off rough edges until few distinguishing marks remain. In Uncharted, what matters is the image, not what you do to make it. As Simon Parkin wrote in his
review of Uncharted 3: Drake's Deception: "Your freedom of choice risks ruining the shot."
بازی اول که خود سازنده هم قبول نداره بهترین اثرش نبوده و ایرادات متنوع :
Drake's Fortune misses its most important beat: pacing. Eight years on, and now sitting in the long shadow of its two extravagant successors,
this is a frequently boring, painfully repetitive game. The combat in the new remaster has been updated to bring it in line with the later games, but it's still the worst iteration of a cover-shooting system that has never been distinguished. And the game is not just carpeted but wallpapered with it: endless, tedious hours of halting shooting galleries, populated with shy dimwits, soundtracked by thin pops and rattles, and interrupted not nearly often enough by puzzles, clambers or story developments. If you're going to present your players with a script to follow, as the Uncharted games do, you had better make sure the script has rhythm, shape, variety. For all its confident strut, Drake's Fortune just doesn't have the beats. With a better structure, its almost Aristotelian unity of action, time and place - the game takes place on two nearby islands and most of it happens over the course of a single day and night, ending at dawn - might have acquired a welcome intensity. As it is, it just feels thinly spread, and the fantastical denouement is an undercooked cliché.
Naughty Dog's Arne Meyer recently told me that the internal view of Drake's Fortune is that it's "not our best work". That's honest, but it's not surprising - because when you play Uncharted 2: Among Thieves, you can see the studio knew exactly where it had gone wrong.
نسخه دوم :
Uncharted's platforming action is extremely simple and rarely challenging: spot the path, push towards it, press X and Drake's magnetic grip will find its hold. It's barely gameplay,
It's barely gameplay !!!!!!
حالا نکات مثبتش که فراوانه من نمیرم تو بحث نکات مثبتش و به عنوان نمونه ی تیکه از نقد میارم ، چون بحث انقلاب گیم پلی هست میخوام موضع خودم رو اثبات کنم ، میگم که خلاصه متهم به ترول و این حرفا نکنید. Uncharted 2 swings you from scene to perfectly modulated scene of exploration, gentle puzzle solving, dialogue and combat, each element rarely outstaying its welcome, and then punches through a series of
memorably outrageous set-pieces.
ست پیس که در بالا اشاره کردم ، ولی اره QTE رو اشتباه کردم (با دلست قاطی کردم) ، ممنونم بابت تصحیح.
ادامه میدیم :
And if Drake's Fortune is too formulaic in its climactic reach for the fantastical, then Among Thieves is too wild. A game that has established itself, right from its opening moments, as simultaneously preposterous and grounded - larger than life, but still lifelike - veers, at journey's end, into tacky 1990s video game cheese.
Suddenly you find yourself battling blue-skinned supermen and shooting exploding goo. The human antagonist, a bloodthirsty Baltic mercenary, hardly helps anchor this climax: he's a forgettably one-dimensional, snarling cliché, a refugee from a much cheaper and less polished production.
اینا انقلاب نیستن ...
Among Thieves is a thing of pure momentum; breathless, often breathtaking.
But its makers didn't think enough about where that momentum was carrying it, or why. Next time, they might have thought about that a little too much.
مخصوصا با این جمله که دیگه رسما "انقلاب" نابود میشه :
It was beautiful and exciting, sure, but
was it really a video game? Didn't you just press forward and fire? Where was the player in all this?
بازم ؟ باشه :
And yet none of these stick in the memory in quite the way Among Thieves' high points do, for a simple reason: there are actually too many of them. Beyond that,
the designers are sometimes so concerned with constructing the perfect action sequence that they leave the player behind. At those moments, Uncharted's famously seamless flow disintegrates and the game snags on a juddering series of pernickety fail states. Cut! That was out of frame, a fraction of a second off. Do it again.
برا اطمینان ادامه بدیم :
That balancing act isn't going to get any easier. Uncharted's filmic ambitions are constantly pulling it in opposite directions: towards ever more extravagant spectacle on the one hand, and some semblance of character-driven drama on the other.
And both of these seem to pull the series away from its gameplay - which is approachable, slender, simple to the point of being dull, as if trying not to get in the way.
It makes for a contrast with The Last of Us, which in its gritty survival scenario found something it could hitch both substantive gameplay and
میبینید ....با دلست مقایسه میکنه ، میگه که تو دلست دیگه این کمبود گیم پلی احساس نمیشه ! منتقد از کمبود گیم پلی تو آنچارتد صحبت میکنه اونوقت شما بحث انقلاب رو میارید وسط ؟! این انقلاب نیست.
درضمن اون چند مصاحبه ای هم که سردبیر محترم اوردن ...نتیجه ای نداشتن ، نه اسپلینتر سل شبیه آنچارتده نه فیبل نه هیچ بازی دیگه ای جز توم ریدر.
درضمن دوباره ، من هیچ وقت روایت و توانایی نادی داگ درین زمینه رو زیرسئوال نبردم ، فقط بحث گیم پلی بود ، به اندازه کافی هم مدرک آوردم و دیگه "ترول" تلقی بشه مشکل از خود طرف هست ...
منبع صحبت ها :
http://www.eurogamer.net/articles/2015-10-09-uncharted-remastered-revisited-reassessed
اگه پاسخ سازنده ای بعد این مطلب من بود ادامه میدم، اگر نه ، موفق باشید.