Avatar for noodlesSilent Hill 2

by noodles on Tuesday, December 1st, 2009 at 21:14

I guess the best person to write a game about psychological horror is someone that has genuinely troubling psychological problems. At least I imagine that the gamedesigner Masashi Tsuboyama spends his days picking imaginary cockroaches in his hair while mumbling about how doctors are killing his pet turtles on odd weekends.

What I'm trying to say is that Silent Hill 2 is a sick and twisted game. I don't mean that as in disgusting, I mean it as in being a very disturbing game. It's filled with metaphors, psychological trials and plain out brainfucks. Nothing seems to be random, everything has a meaning and represents something and can be interpreted in some way or another, all connected to the story.

You take on the role of James Sunderland. You start out in a restroom just outside of the town called Silent Hill. You're here because you received a letter from your wife, asking you to come here and meet her at your special place. Thing is, she's been dead for quite a while. Hey, if my dead wife asked me in a letter to come see her, I'd probably be too curious to pass it up too. Either that or figure out when I have to surrender my credit card and pin-number. But unlike the character that I'm supposed to immerse myself into, I would probably have forgotten about the whole thing and turned around the first time that I was attacked by what can only be described as a human-being with a melded torso. I would at least not continued on my own when said creature spewed bile all over me.
Navigating your way through the town of Silent Hill, which has the worlds worst case of fog that just won't leave, you soon find a handful of people that you, for some odd reason, never find enough reason to stick with. I won't go too deep into what happens because the story and experience is really what the game is all about.

I must once again underline how easy I immerse myself into games and how I don't enjoy horror-games; I soon realized that I could not keep both my sanity and said lit path to imaginationland. To cope I had to avoid seeing myself as Mr. Sunderland and more focus on controlling a character, trying to keep the bastard alive. Even with this mindset I was really uneasy. This game has more atmosphere than any game I can mention and it's due to one specific medium: audio.
Every piece of music, ambient noise, sound-effect and shriek is designed to be as disturbing and terrifying as possible. And they're executed in the same perfected manner. A mechanic in the game makes a small radio in your pocket start picking up white noise whenever a foe is near enough, and I have never - I usually don't use the word "hate", because I feel that it's a strong word that shouldn't be taken lightly - hated a sound so much. Combined with whatever sound said enemy is making made me want to turn off the game and give up. But thankfully, my stubbornness is stronger than my fear of video games.

Grabbing the controller in this games felt pretty natural coming directly from Resident Evil. Semi-fixed camera and the up-is-forward joystick with somewhat logical buttons. That is, until fighting gets into the picture. I'm told that the combat-system was designed to work the way it does to simulate the fact that you're not playing a trained soldier, you're playing a non-athletic nutcase that seems to be interested in necrophilia in some way. There is no finesse to the way James swings his weapons, instead substituting technique with grip-it-and-rip-it(-over-the-monsters-head-until-it-stops-moving-and-your-radio-stops-sparking).

Survival horror is usually about managing your resources and using your bullets as efficiently you can. This game is really about surviving. You're not a military special forces just happening to be at the zombie place at the zombie time, you're an average guy trying to find your dead wife and not get killed by monsters.

I'm trying to figure out who I can recommend this game to and I'm somewhat stumped. The horror-fanatics is a given, but even they have to be divided into two categories. The ones that get off on psychological horror and the ones that classify Left 4 Dead as horror. This game is for the first group, the ones that find suspense, metaphors, visuals and straight up mindfucks interesting and entertaining.
Me? I want to exorcise and burn every copy ever made. If not for my dislike for how they make me feel, then to save future generations from living though the sick mind of a Japanese game-designer.
But what you do get is to experience one of the strangest and most twisted script in video game history. Kind of like if Fight Club had been a horror-flick.

tags: 2 silent hill

Avatar for noodlesResident Evil

by noodles on Thursday, November 19th, 2009 at 14:52

Audio; it's more important than you think.

The Resident Evil franchise, know by the more story-based-appropriate title in Japan: "Biohazard", has gone on for over 10 years. The high sales-numbers are not from the launch-weekend, but from different versions that are slowly seeping off the shelves across all the years. While the latest numeral iteration came out this year for the current-gen consoles, I took a trip down video-game-history-lane and in an attempt to explore my recently discovered discomfort with horror-games experienced the Nintendo GameCube-remake of the Sony PlayStation title Resident Evil; on my Wii.

Being one of the original titles from the "survival-horror" genre, I'm guessing that anticipation played a big part of my comfortless relation to the game. I do, however believe that the updated visuals and audio of the remake may have helped my (way too easy) immersion.

You get to play one of two characters, Jill Valentine or Chris Redfield. What character you pick only affects the game slightly, or so I've heard, so I went with the guy for no other reason than him being a guy. Don't get me wrong, I'm not unfamiliar with playing female characters. You are part of an elite squad of rescue-personnel, that find it necessary to wield firearms for some reason. It's a good thing you do though. right of the bat, before you even get to control anything, the intro-cinematic show how you and your group are attacked by monstrous canines and forced to take shelter in an old, apparently abandoned, mansion after finding out that a mere bullet to the torso is far from enough to but these puppies down. Your team spreads out in an attempt to explore the mansion quicker and you soon discover that all is not right in the state of HOLY SHIT! THAT'S A ZOMBIE CHEWING ON ONE OF YOUR FRIENDS!
While exploring the mansion to find any survivors, and defending yourself as best as you can against the resident monsters, you learn a great deal about how the now notorious Umbrella corporation started their operations and what it is they do exactly. This lore has grown today to go beyond what I believe even the originators of the series imagined, so I guess the things you find out in this game can only be described as "The Umbrella Corporations plot to do evil things for no apparent reason besides monetary gain by trying to experiment with stuff at the expense of life, both human, animal and plant. Volume: 1"

The game plays with some frustrating mechanics and controls that take some getting used to. Every area is viewed from a preset number of camera-angles that change depending on where you are .While this makes for some very awkward combat at time, meaning that you can't see what you're doing because the camera just shows you occupying the entire width of a hallway, it's somewhat helped by the controls. I don't know what the name for the layout is, but you control the character in a static manner. Up is always forward, down is always backwards, no matter what angle you're viewing from, so you never have to re-orientate like you do on some titles. It takes some getting used to, but once you get the hang of it it's easy.

My biggest frustration with the game is the inventory-system. While going for the realism of not being able to carry everything plus the kitchen sink, they over-did it and only allowed six items on your person at any time. This includes you weapons and ammunition. So say you want to carry your knife, a handgun and an extra clip? That's half your inventory right there. Luckily, you can carry how much ammunition of one kind as you like in one slot, so you don't have to occupy a slot for each clip. You do, however, need to occupy a slot for each TYPE of ammunition you wish to carry with you.
So how do you complete this game, since you basically can't carry any items and it's an exploration-game, which means keys, clues and assorted items? There's a item-hub system in place that throws that sought-after realism out the window. In selected areas there are chests that can hold plenty of items, and accessing any of these chests gives you access to all the items that you placed in any of the chests. Sounds somewhat like a Discworld-storage-trick or something, but at least it allows you to fetch the item you need by going to the nearest chest, and not the one you left that particular item in.

Combat in the game is pretty straight forward: Zombies attack you, you shoot until they drop.
But here's the kicker: They get back up. Some more than once. The only way to eliminate them is by wasting enough bullets to keep them down permanently, blow their head clean off, or burn them with kerosene while they're down. Want another kicker? Well, you're in luck, because here it is: Your supplies are very limited. Bullets, shells, grenades, defensive knives and even napalm is at your disposal; in extremely limited amounts. Either you have to bypass the enemies by avoiding them, so you have enough ammunition for the bosses, or you have to be VERY effective with your kills.
The bosses, however, I never really felt threatened by. Just standing in one place and blasting away with the shotgun was almost enough, but to some extend, puzzle solving was involved at times.

Speaking of puzzles, you'll have to solve plenty of them here. You know how in a normal game, when you pick something up you automatically assume that the character you're playing has taken a quick look at whatever he just laid his hands on? Not here, you have to examine each item yourself in your inventory. "Why?", you ask. In today's games any item is usually rotated to display it from all angles, giving the designers a chance to show off their modeling- and texture-skills. In this game the item just sits there and you actively have to select to first examine the item, and then examine it closer. Now, if you rotate it around and play with it a little you may find something hidden, like a key taped to the underside or that the face of said key is a press-able button. While being quite a genius mechanic, it gets VERY annoying.

So by know we've all realized that I'm a pussy when it comes to survival-horror games, at least some of them. And I'm still trying to figure out what that thing that makes me uncomfortable is. A good candidate has got to be "atmosphere". The combination of visuals, audio and hints of impending horror really works on me. And this game doesn't fool around, you can be exploring an area that you've already cleared and backtracked through several times and then BAM!, zombie-dogs pouncing for your throat. After that, you're always freaking out that you're going to get jumped again.
But nothing really sets you off like the almost inaudible hint that something is coming for you. You know that something bad is going to happen, you just don't know when. And throwing surprises your way at perfect intervals help that effect superbly.

If you're a fan of survival-horror and haven't played this game yet, you need to. Even with its frustrating mechanics it's a good game with a story that's twisted but solid. And if you've already played, are playing, or planning to play, any of the other or newer Resident Evil-games, it nice to know what started it all. If nothing else it's one of the first games of its kind and any horror-fan should have it under his or her belt.

Here's the thing that separates me from my counter-part: We both get the same anxiety from horror-games. We're supposed to, the games are designed to give you that sensation. The difference is that while he enjoys it, I don't. We've discussed this on several occasions and both find it fascinating; especially since it's not the same across the entire horror-genre, or even the horror-genre of the interactive-entertainment medium. Since we both agree that games are supposed to be fun and enjoyable - at least in some manner - we agreed that I would be allowed to remove some titles from my list, namely the Resident Evil-titles between 1 and 4, and made a little bet.
The stakes were as follows:
If I win, I get to eliminate the horror-titles entirely and we both play something that I'm itching for.
If he wins, I would have to suffer through, not only, Resident Evil 4 and 5, but what has arguably been described as the scariest game ever made, Silent Hill 2.
The bet:
Best 5 out of 9 matches, Ryu vs. Ryu, on Street Fighter IV on the Sony Playstation 3.

Suffice to say that after the contest I could swear that I saw Pyramid Head walking in the hallway, taunting me.

tags: wii resident evil horror playstation gamecube jill valentine chris redfield survival

Avatar for belajjalShadow Complex

by belajjal on Wednesday, November 4th, 2009 at 13:31

Shadow Complex

At E3 this year the creator of Gears of War, Cliffy B of Epic games, showed a demo of a 2,5D Castleroid (or Metrovania if you like) clone. A few months later Shadow Complex was released on Xbox Live for 1200 MS points. The game is set in the universe of Orson Scott Cards novel Empire, which I had never even heard of before I played the game. You play as Jason Flemming who are on a date in the woods. After a game of hide and seek in a cave your date Claire gets kidnapped by unknown men in uniforms and helmets and carried in to a futuristic door in the cave. You pick up her flashlight and backpack and set out to find her. Once inside the door a large underground complex is explored bit by bit in a style that is very close to Super Metroid or Symphony of the Night.
The game is presented in full 3D but played in 2D with the exceptions of enemies in the fore- or background where you character auto aims. This brings us to my first issue with the game, the auto aim. There is no way of forcing the game to aim at someone in the background as this is handled automatically. I had several instances of enemies blasting me to pieces from the background with my character shooting straight in to a wall. The graphics are generally nice but during cut scenes the camera often zooms in and you can see that this game is on a low budget, especially Claire is really really ugly. Like the games where Shadow Complex clearly takes inspiration from you find different zones in the game. These areas usually have different music and look but in SC there are no music, period. Some ambient sounds here and there bit otherwise silent. The environments also look more or less the same everywhere, even the enemies look the same with only a few variations. Some larger bosses are present which is nice though.
The core gameplay is to collect items and there are a total of over 100 items to find. Rooms with items are marked with a question mark on the map and a dot when picked up. Key items to be able to explore new areas are found at a steady pace as well. Jump higher, run faster, new weapons that open specific doors etc. Metroid 101. The only unique aspect is the foam gun that you can use to build platforms or trap enemies but these features are really only used to get a few extra items. I finished the game in 7 hours and found 100% of the items after 2 more hours which is a really good length for a XBLA game. There are still some achievements that I didn?t get, like beating the game with less than 13% of the items, so there are some replay value still.
I love Castleroid games and I like this as well. I understand that it is a low budget downloadable game so I won?t hold any real grudges against its flaws but I can?t stop imagining how this would play if it had a bigger budget and more development time. Better atmosphere, more variation, bigger map and better graphics. I would recommend this game to any old school adventurer but if you are new to the genre I strongly recommend Super Metroid on VC or Castlevania Symphony of the Night on XBLA which are both much better games.

tags: shadow complex metroid castlevania

Avatar for noodlesWhere music has been, games are going.

by noodles on Friday, October 16th, 2009 at 16:59

We've all heard the words "They were better before". It usually refers to a band that's been around the general circulation of records for a few years. The theory being that when the band or artist gained the attention of a broader audience the record-company put more production and promotion into the development of further songs from that artist. This usually goes hand-in-hand with the term "sold out", accusing the musicians of chasing the all-might-dollar over "keepin' it real". The latter usually involves scraping by on a day-to-day basis not knowing where the next paycheck is coming from and playing where you're offered, making the artists go to the people, instead of the more popular version of the people going to the audience. To clarify, I'm talking about fans having to pick between not seeing the performance and, not only, coughing up an arm and a leg for tickets, but also to get to the venue, and perhaps even find accommodations near the event. Whereas the other version, known as the "band on a budget"-approach, involves - sometimes metaphorically, sometimes literally - a band living out of their van, going from gig to gig to earn enough money to put gas in the tank and food in their bellies.
OK, those are somewhat extreme sides of the same spectrum, but you get the point.
When they reach a more wide-spread fame they adjust and "evolve" to make their music fit a broader audience. Why? Because they wish to reach more people and their label requires it to throw more money their way. This too is a hand-in-hand thing. If the band pleases a broad range of fans then the label has more reason to swing their economics in that bands direction.
A great example of how this works is usually found in the rock and/or metal genre. Partially because a pop-, electro- or hip-hop-artist generally don't stray too far from their genre. But listening to a recent, say, KoRn-album and compare it one of their earliest releases, it's like it's not the same band. I'm not saying that one is better than the other, I'm just saying that their "sound" has "evolved". KoRn, along with icons like Metallica, are probably the ones most often being accused of "selling out", making more profitable and/or marketable songs. I believe a phrase used is "producing singles".

So what's with all the theorizing about music? Well, here's the thing:
This is happening in video and computer games today as well. I believe the best example would have to be the Resident Evil-series. That's "Biohazard" for you original-title-freaks. What started out as genre-creating exclusive for the Playstation is today an action game on several platforms. How did we go from Resident Evil to Resident Evil 5? Originally being release in a shifty time-period, where hard games are crossing over from being something that lasts, and give you something to do, to just being too difficult and not worth the effort. The effect of this was that the general difficulty of games have been toned down to a not-so-frustrating level. Why has this happened? It boils down to "accessibility". If a game is easier it means it won't scare away potential customers that would otherwise dismiss it as an experience not worth undergoing. And if more people buy a game, that means that the publishers and developers/producers make more money. In comparison to the music industry, in this case the "record label" would be the publisher and the "artist" would be the developers/producers.

Let's play with the thought.
A game, let's call it Zombies Ate My Mexicano, is produced by Zombie Studios and pitched in such a way that the publisher Wide Spread Inc. picks it up for distribution. The game sells fairly. Out of an estimated market of 1 million people, gamers in the distribution-region that potentially would by a zombie-game, 20% pick it up. No matter if the game got good reviews or not, let's pretend the title made a profit. Now the "label" is thinking "We could sell more of this stuff, but we need to tweak it so that 10% more of the market picks it up". The "artist", celebrating that they made a profit from their title, is already planning the next installment, since the first one sold acceptably well. They get a ring from the publisher.
"Hey Craig, congratulations on your game selling."
"Thanks Corey, we're already working on the sequel: 'Zombies Ate My Mexicano 2: Hell Is A Daily Destination'"
"Yeah, about that: We need you to include pink little bunnies."
"Pink little bunnies?"
"Yeah, our research show that this would widen the receptive audience by about 40%."
Now Zombie Studios have to make a choice. Find another publisher that doesn't require pink bunnies, or make the change and keep the already established relationship with a publisher.
The title is made and the cycle repeats. Soon enough, the game has gone from being about zombies eating Mexicans to vampire-Eskimos clubbing baby seals*.

I'm not saying this is how it actually happens, but as a thought-experiment and a metaphor it serves its purpose. The reason why higher integers in a series don't resemble the lower ones is evolution. The developer doesn't want to make the same game again, they want to make it better, with more content.
OK, there are those that just want to cash in by creating small, crappy, low-quality titles at a very high pace that, for some reason, sells. Just look at the generic musical artists out there, same thing. A certain type of music is selling abnormally well at a certain time, you can bet that there are new artist going up on stage, coming straight out of the artist-factory. The ones that do care about their products however, need to go through this process, of further developing, tweaking and adjusting. Some choose to do entirely their own thing, making enough money on just that to secure future investments, but others need to give the market what the market wants. Or they just choose to do so because that's were the money is.

I do believe I can squeeze a World of Warcraft-reference in here: WoW has undergone a multitude of changes since it's launched. And being involved in gaming, how can you not have heard of someone quitting because of a change made in an update or the similar? Yet, the subscribers continue to grow, meaning that more new people are signing up than people putting it down. Why? Because their goal is to make it accessible to anyone, anytime, anywhere. This is not done by "keepin' it real", this is done by "sellin' out". KoRn may not sound exactly like they did on their first album, but they're still making music and they're, allegedly, trying to keep their "core-fans". Blizzard, the people behind WoW, is still serving Warcraft, and they're making new content based on the lore that they created. Even if the game doesn't feel or act like it did when the servers first opened, they too claim that they try and look after their "core-fans". But both KoRn and Blizzard are asking the same question at the marketing-meeting: How do we reach more people and make them buy out stuff?


The video game industry are doing exactly what the music industry has been doing for years: Finding out what sells and then producing it. Artists and developers have to pick between falling in line and be accused of "sellin' out", or trying to make it on their own and "keep it real".

Me? I'd play the worlds smallest violin for you and laugh my ass off all the way to the bank.

* On an entirely different note: Check out the game The Seal Hunter.

tags: resident evil music industry zombie korn video games

Avatar for noodlesHaze

by noodles on Monday, July 27th, 2009 at 15:27

An interesting faction-mechanic hidden in a haze of terrible story, characters and mediocre gameplay.

Wearing the suit of Shane Carpenter, you're a sergeant in Mantel Corp's military. On a mission to clean out insurgents and capture the notorious "Skin Coat", a guerilla leader so nicknamed by the rumor that he wears a coat made from the skin of his enemies, somewhat à la Silence of the Lambs. To help you is your squad, made up of characters that really go out of their way to make you dislike them. Not you, as a character, but you as a player. Their frat-boy manner and moronic commentary seem to be drawn directly from a antagonist quarterback from a college-movie; you know, the one that treats his "girlfriend" like crap, drives his dad's SUV, and makes a sport out of hitting nerds in the head with beer-cans while discussing how much they want to join the army so they get to fire guns at terrorists. Luckily, you don't have to suffer their sub-intellectual behavior for long, as you'll switch faction to the rebels after only a few hours.
Oh did I spoil the story for you? No, wait, I didn't, because it says so on the friggin' box! After some questions that any school-child that has a problem with authority would ask, Skin Coat converts you to fight for his cause instead. One might hope that this would be a safe refuge from the idiots at Mantel, but the beer-powered chants and boasts are replaced with latino comments about how the rebels will be victorious and killing soldiers is a justified payback. Suffice to say that the worst part about the game is the soldiers; on both sides.

The whole story centers around the performance-enhancing drug, Nectar, that all Mantel troops are involuntary fed. Aside from preventing the soldiers from seeing casualties and dead bodies, things that ACTUAL war contains, and keeping their cannon fodder in their barbaric state of mind, it can be administered to boosts their reflexes, perceptive senses and physical strength. Game-wise this means that enemies start glowing bright, your aim improves and your melee does more damage. Aside from having a mind-controlling dose regulated from a central command, as a Mantel soldier you can tap your tanks for Nectar whenever needed, given that you have any charges. If consumed in too large doses, however, the user looses control, can't distinguish between friend or foe, and fires their weapon randomly.

When fighting for Mantel you have, as stated, Nectar, on your side. Along with this comes a standard array of generic weapons: pistol, shotgun, automatic rifle, sniper rifle, rocket launcher and grenades, and you're limited to carrying two at a time, not counting grenades. The rebels sport the same hardware with some minor changes to reload-times, ammo and damage, along with the addition of knives and the rocket launcher being replaced by a flame-thrower. To compensate for the lack of Nectar, the rebels have some different mechanics to work with. The first being the ability to play dead, as the Mantel can't see dead people. The others utilize the Nectar against the Mantel troops. By either infusing a grenade with the drug, shooting the administration-pack at the neck of the soldier, or by cutting the regulation-line with a knife they can send their opponent into overdose-mode, making him more of a threat to his peers than you. As a bonus, they can steal the enemies weapon after stunning them with a melee-attack, and salvage bullets for their weapons by scavenging other dropped weapons. Logic is present though, as you can't convert regular bullets to fuel for your flamethrower.

The game is short enough to not get too boring, but the problem is that it's not that fun to start out with. Switching sides and getting the new abilities and mechanics is more entertaining than pumping mind-altering narcotics into your bloodstream, but it's not enough to raise the title as a whole. The story is shallow, the characters are annoying, and the gameplay is average. Keep in mind though that the word is "average", not bad. The game is not terrible, it's just not very good either. If you have nothing better to do and would appreciate totally numbing experience of soldiers yelling how their side is better than the opposing faction, then you might even get two nights out of a rent. Just don't expect to gain some quick trophies, like Terminator: Salvation, for there are none.

tags: haze average nectar mantel

Avatar for noodlesUncharted: Drake's Fortune

by noodles on Friday, July 24th, 2009 at 10:51

I went in expecting adventure and got a shooter. Gears of Indiana Jone... - I mean, Uncharted was not what I hoped it would be.

A descendant from a more or less famous treasure hunter, Francis Drake, you climb into the pants of Nathan Drake. With your travel-companions, a female journalist that's documenting your treasure-hunt and a older male long-time partner-in-grave-robbing, you follow uncover clues that will supposedly lead you to the lost city of gold, El Dorado. The story plays out in the same manner that the movie-series The Mummy rips off the Indiana Jones franchise. There's old languages, graves, tombs, clues, trails, multiple characters after the same treasure, a hint of super-natural, and yes - even Nazis. It's basically a summer-blockbuster-adventure-movie in interactive form, except the main emphasis is on the gun-fights and not the adventure part.
This leaves you with the same interest that you would have in it'snon-interactive counterpart. Some will be swallowed by it, some will finish their popcorn and then leave the theater to wait for the DVD instead.

Gameplay-wise it's a third-person-shooter. Basically, if Marcus Fenix, of locust-bustin' Gears of War-fame, had a baby with Lara Croft, plain busty Tomb Raider-fame, that baby would be Nathan Drake. While some puzzle-solving and platforming does take place, it's overshadowed by gun-fight after gun-fight. I actually felt that the adventure parts were my reward for getting through the shooting parts. Like most third-person-shooters these days, there's a mechanic called "cover system", which allows you to duck out of the way from enemy bullets and cower behind a wall, pillar, box, or other bullet-resistant material. From here you can pop out, deliver some random or aimed lead-showers of your own, and then duck back down.
Amongst all the shooting and platforming you're also supposed to be "lookin' fo' tre'sha", and you pick up random things like pendants, goblets and necklaces. These serve no other purpose than unlocking bonuses, such as behind-the-scenes videos and alternate costumes. Every five earns you some points in the awards-system, which is also fleshed out with awards for your shooting, like killing ten enemies with grenades while hanging from a cliff, or snapping the neck of 20 enemies.

Visually this game looks great, if you disregard a whole bunch of texture pop-in.But once the textures are in place it really shows how even the earlier PS3-exclusives took advantage of the hardware. They went the extra mile and made sure that if your character is wet, his clothes look wet. However, they did not take into account that perhaps he would only be wet up to his knees, so if you're wet, you're wet all over. And even if the script is of the same standard as most other summertime escapes from reality, they lines are, for the most part, delivered in a convincing manner.

If you're looking for something not too deep to kill the rainy days this summer, I can recommend Uncharted: Drake's Fortune. Be very much aware that you'll be playing a shooter with adventure-sections put in for diversity, and won't take on the role of pseudo-Indiana. But there's a good chance you'll get into the whole experience anyway; I was, eventually. Also, there's a chase-scene that was some of the most fun I've had while playing third-person-shooters. With Uncharted 2: Amongst Thieves around the corner, there's really no reason to pass by that used copy of Uncharted for $20 - or whatever your currency is - anymore. Just pick it up, walk over to the counter, THEN LEAP THAT SUCKER, SWING YOUR WHIP AND ROLL UNDER THE SECURITY GATE. Don't drop your hat.
Dun du-dun daaaaa, dun da-daaaa....

tags: uncharted nathan drake fortune

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