UNCHARTED 4: A THIEF’S END
We’re setting sail, to the place on the map from which no one has
The fourth part of a trilogy can be
challenging – just ask Douglas Adams. Well, you could if he hadn’t
tragically dropped dead while gymming it. Bastard exercise.
While Drake’s Deception
appeared to wrap everything up in a neat little package, Naughty Dog
decided that their fortune hunting descendent of Canadian
chart-stormer Drake (well, he might be if time travel is sussed and,
well, look, it’s all fictional, OK?) needed to go round again. So
they concocted a tale where a life of adventure has been replaced by
the drudgery of salvage work, but with the carrot of going home and
snuggling with the lovely Elena, to whom he’s now hitched.
OK, so far, so whatever. However, far from being a domestic bliss
simulator, A Thief’s End quickly introduces Nate’s long
thought dead big brother, Samuel. Years back the pair got holed up
in a Panamanian prison. During an escape attempt, Sammy was shot.
Nate hightailed it out, believing his bro was now pushing up daisies
– or whatever flora springs up wildly in South America. Then he
shows up in the now...
Owing shitloads to a drug lord, he
begs little brother for help. Itching for action, Nate agrees. Cue
globetrotting adventure – Sully included - in search of their own
pirate Idaho in Libertalia.
If you’ve played one
Uncharted then you’ve played this. But you also haven’t, as
given the freedom of sprawling resolution, beefier processing and
ND’s incredible knack for storytelling while keeping action
bubbling, this goes beyond anything preceding it, including The
Last of Us.
Sure, if you plug into reality you realise
you’re almost entirely riding rails, bowing to ND’s whims at every
turn like helpless meat puppets. But when the resulting experience
is among the greatest gaming blasts you’ve ever encountered, you can
forgive such limitations.
Cue Journey’s ‘Don’t Stop