Noelveiga said:
So changing the environments is not narrative, changing your partners through the game is not narrative, the cutscenes and the dialogue between characters do not count but the models they use for the enemies are now a narrative decission?
I'll just use this one quote so you'd know I'm replying to your post.
It all is part of the narrative, true, but to me, when you have too much of it the whole experience gets lost in it. When you change environment every level after a short while you stop caring, it doesn't impact you when it needs to (like the last levels should). In U1 it was more clear and the sense of progression was played out by the environment and colours that went from lush green to dusty grey and brown with professional soldiers. In U2 you change your companion every level so it also numbs you to any further changes. Things like that should be well implemented and well played within a screenplay, the accents need to be in right places, because when they are off the audience can get lost or don't get involved with a plot.
Indiana Jones is a good example, but as I've mentioned earlier, Indy is a 100min film where the action sequence en route to hidden treasure takes 9mins, while in U2 it takes at least 40mins up to an hour after which the gamer is not at his destination but has to wonder somewhere, then somewhere else, then do some acrobatics etc etc. There is a goal somewhere in the distance, but it got blurry in the course of the game.
Additionally I think that the sub-quests (I call them that) lack the impact that would make them interesting. I just think they're weak. Like when Chloe gets on a train and we need to "rescue" her. Why? She's perfectly safe, at least to my knowledge... So it's a goal in the game but I don't understand the reason for it. I think that in a game like Uncharted 2 gamer should always be reminded where he's going and what it is that he's trying to achieve. After a few shootouts and couple acrobatic segments the weak goal doesn't seem important at all.
That's why I'm saying that the only goal here is to get to Shambala.
It's a bit like System Shock 2 (just a title that pops to my head when I think about something like this). You have a goal, say, get to laboratory that is at the end of the corridor. So you go there but the ceiling suddenly collapses and you have to find a way around which takes you a battling 2hrs. At the end, if you weren't reminded what is is that you wanted, you've forgot what were you doing.
Games are specific, they take a long time to complete, usually dialog is sparse in action games and often gamer can't aim for the head and listen to some chatter at the same time. A gamer gets all excited about the action on screen, much more than when he's watching a film, and sometimes he just does what a game tells him to do (like a sudden prompt to press R1 - you don't know what for but it seems that it's important). There could be more bits of dialog sprinkled here and there that would remind you how important is your current task, or the goals could be more compelling and the path towards achieving them could be more straight forward.
I've never said I didn't like Uncharted 2, because I did. I've enjoyed it a lot, but also I think that the story is really on the weak side of the spectrum (and doesn't work for an action video game) and what fools most of the gamers to thinking otherwise are well written dialogs and likeable characters. That was my point - that we like our protagonists (villain isn't that great) and we enjoy the witty, snotty dialog, but where's the story? Constant goose chase is not a story. Just because something works for a 100min blockbuster doesn't mean it will work for a 12hrs immersive experience.