Psychonauts’s box art reminds us that it comes “from the mind of Tim Schafer,” whose design credits include Adventure classics like Maniac Mansion, Monkey Island, and Grim Fandango. So it should come as no surprise that Psychonauts shows promise with its Adventure trappings and interesting premise, but is held back by unrefined platforming and an undercooked plot.
Uncharted 4: A Thief’s End is the latest installment in the adventures of Nathan Drake, the star of the treasure hunting pulp adventure series. With a new creative director at the helm, is Drake’s newest adventure worth partaking, or should it have remained lost to antiquity?
For a person who never owned a PlayStation 3, the first years of the PlayStation 4’s life have been an opportunity to experience some of the best-received exclusives for that console. From The Last of Us Remastered to an update of Journey to the recently announced port of Valkyria Chronicles, an entire generation of great Sony-exclusive games is being made available once again. One of the most noteworthy exclusives, the Uncharted series, has received the remaster treatment as well, and with all three games on one disc no less. However, it is difficult not to come away from Uncharted: The Nathan Drake Collection with a feeling that the entire trilogy barely transcends run-of-the-mill shooter status and, given that you can now buy all three original games for less than half the price of The Nathan Drake Collection, the compilation fails to justify its price tag.
For the uninitiated, the Uncharted series is a pastiche of pulp treasure-hunting adventure tales, a contemporary equivalent of Raiders of the Lost Ark and its sequels, but owing as much to that series as Indiana Jones owes to King Solomon’s Mines and its copycats. But Uncharted stands out from its predecessors through its irreverence; imagine if George Lucas delegated the Raiders script to Joss Whedon to get an idea of Uncharted’s tone. What unfolds is the story of Nathan Drake, would-be descendant of famous explorer Francis Drake, and the adventures he has cover shooting and wall climbing his way across the world, assisted by a group of spunky companions in a quest for the treasures of antiquity.
If that sounds like a rollicking good time to you, think again, because all three Uncharted games fail to be entertaining or engaging to different degrees.
Hubris Comics in post-war Boston
Deep in the ruins of post-war Boston, The Sole Survivor creeps into what remains of Hubris Comics. Somehow, even after two hundred years of looting, neglect, and decay, the pathetic shambles is still recognizable as a store. Cash registers line one wall, some with pre-war paper currency still in their drawers (these are promptly looted). In the Manager’s Office, she finds a safe and picks the lock, finding it filled with money and ammunition. The rest of the store is filled with burned comics and the paraphernalia of pre-war geekdom. The familiar growl and shuffle of a feral ghoul echoes through the room. The Survivor pulls out her Combat Shotgun; fully customized with an advanced receiver, a long ported and shielded barrel, a recoil recompensating stock, and a quick eject mag, it is a fearsome weapon, more than a match for any run-of-the-mill ghoul found in the Commonwealth Wasteland.
The Survivor moves through the sales floor and into the offices, dispatching ghouls as they appear. When she comes across a locked door, she picks it. When she comes across a protected computer, she hacks it. Finally, on the top floor, she finds a television studio protected by a Glowing One, an especially powerful ghoul. Pulling out her Laser Musket, also fully modded to peak efficiency, the Survivor sneaks up behind her prey, cranks the Laser Musket to maximum power, takes aim for the ghoul’s head, and fires. Its head explodes and it falls to the ground, dead with a single shot, leaving the top floor of Hubris Comics and its loot free to be taken.
Yoshi’s Woolly World is a game caught between two disparate progenitors: The egg-throwing adventure-lite Super Mario World 2: Yoshi’s Island, and the arts-and-crafts adventure-lite Kirby’s Epic Yarn. Drawing from the best and bypassing the worst of both, Woolly World finds its identity as a knit-wool derivative of the side-scrolling action/platformers it is inspired by, albeit one that manages to capture the essence of what made those games fun to begin with.
This possible cover for Batgirl #41 drummed up some controversy recently. Its depiction of Batgirl being menaced by the Joker proved disturbing to some, though less to others. The latter group felt that there was nothing wrong with the cover, that a heroine who can never be threatened is boring, that it’s sexist if a woman can never be harmed because she is a woman, and furthermore that putting Batgirl up on an untouchable pedestal would reduce her to the status she held in the television series, where she was barred—by executive mandate!—from ever being in danger and could only “fight” by performing ridiculous high kicks.
The former group maintains that a heroine being in peril isn’t the problem, but rather in the way the peril is portrayed. The image is suggestive of rape: Batgirl’s position is sexually provocative, chest thrust out, lips glistening, eyes wide, a single tear coming from her eye, seeming to beg the viewer for help—behavior a far cry from the independent character within the pages of the comic. The Joker is casual, but menacing, also looking at the viewer, a pistol-wielding hand draped possessively over Batgirl’s shoulder, the fingers of his other hand caressing her cheek.