Look at the grating you have to climb up to get to the cylinders. On the left side of the room the grating has the emblam of the stone, on the right side it's another symbol. On the last page of Drake's journal, you'll find a page that shows what should be displayed on the cylinders that corespond to that side of the room's emblam.The gun play has never been as good since this game IMO and the Villian actually scared me. Really hard but fun final boss and the locals are some of my fav as.Your current IP address has been blocked due to bad behavior, which generally means one of the following:A Thiefs End UNCHARTED 3.
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It doesn’t turn any heads.The Prince in the new Prince of Persia, is, as I have argued, cut from a slightly (importantly) different cloth than North's Drake. They may be ahead of the grade by being empathetic, emotionally heartfelt, and sexual, but it’s well-worn territory they’re treading on. In that way he, Elena, Sully, and Chloe are similar to the Prince and Elika.However, their romantic entanglements fall into extremely comfortable filmic roles: the plucky, independent female lead (who will end up with the roguish, devil-may-care male lead even though they have their differences), the lecherous old guy who isn’t really that bad, and the so bad she’s good femme fatale. In fact, he and his various compatriots stand out as some of the few video game characters that are crafted to evince sexual desires and frustrations that are connected to actual human emotions. It’s a game that is both safe and radical in its depiction of sex.This isn’t to say that Drake and the relationships in which he participates are not sexual in any way. While I singled out Prince of Persia as a game that stepped (slightly) outside of these traditional boundaries, I also pointed to Uncharted 2: Among Thieves as a game that both subtly continues these traditions, and blatantly, brashly confounds them.
Uncharted 2 End Series To Serve
Nathan Drake may have his flaws, as a character and as a narrative creation. Even as these characters fit into old molds, they also introduce quirks and wrinkles to the story and the tone of the game, in ways I have yet to see replicated in any other narrative-centric video game. The story and its characters don’t revolve around meaninglessly repetitive moralistic haranguing (yes, MGS, we understand that war is bad, we just wonder why it takes you a quartet of games to actually “say” something about the subject) and teenage angst surrounding aging and sex (we have the un-self-consciously teenage Braid and the endlessly weighty Final Fantasy series to serve all of our young men their fantasies and failures).Among Thieves introduces us to characters familiar to anyone who has read a few books or watched a few movies (of the right sort, of course). Among Thieves is an example of careful writing, world-building, and characterization, something we rarely see in games.Among Thieves paradoxically picks one of the older, more cliched and tired adventure stories (and settings), and turns it into an exciting, cleverly written adventure featuring characters who obviously have heartfelt connections with each other.
They may constantly bicker, but we (and more importantly, Chloe) know that they care about each other too much to let anything happen to each other, even if Drake pisses off Elena.Chloe, even when she “finally” comes down on Drake’s side, does so not for Drake, but for her own sense of honor and morality (admittedly, Elena does the same). Drake is on the trail of the Cintamani Stone (and thus Lazarovich), while Elena is pursuing Lazarovich to expose him for the war criminal that he is. She and her cameraman buddy (Jeff) run into Drake in the middle of a burning city. The initial heist, her subsequent allegiance hopping, and her final moments onscreen are all informed by whatever machinations are going on inside her head.Elean, for all that I love her character, enters the narrative by chance, but she enters it with the express purpose of merging her path with Drake’s. Forget, or the moment, the way in which her sexy bad girl status is both facilitated by and neutralized by the game’s traditionally romantic story arc.Chloe, unlike Elena, starts and finishes the game doing what she wants, when she wants, however she wants.
Their romantic scenes have to be light, sexually unthreatening, and focused around a more Rosalind Russell, Cary Grant school of romantic entanglement (not that there’s anything wrong with clever verbal sparing).Chloe and Drake’s scene sets up several precedents and creates a track for the two characters: they have a romantic past (Drake broke it off), they are still attracted to each other, and both would like to get back together (although Chloe is slightly more verbally effusive on this topic). There is no way that Elena and Drake could ever play out a similar scene. Chloe is the aggressor, while Drake the wisecracking, diffident (yet quite willing) collaborator. Chloe understands the situation that her characterization has put her in.The Good, The Bad, and The Overtly SexualEarly in the game, Chloe and Drake have what is, for a game, a love scene.
Chloe herself is shown to be an interesting, fun character who makes some dangerous “bad” choices (less than Drake does, the story thankfully is keen to point out) in search of personal gain and fulfillment. True, Chloe exits the story gracefully, wittily, and self-assuredly, but she does so with the understanding (on the characters’ part and on the audience’s part) that the sexual, social threat she poses has been diffused.It is an old and sorry trope, that sexual “freeness” or what is deemed as promiscuous behavior are coupled with moral weakness or fluctuation. By establishing Chloe as a sexually “forward” character (and despite the fact that she is never judged negatively for this activity, except by Drake, who is in turn mocked for his own sexual profligacy) the story can quickly convince us of her morally worrisome, “gray” tendencies.Likewise, Elena’s “goodness” and morally right-minded nature mark her as the only possible (final) subject of Drake’s affections, and the story’s attention and allegiance.
For a woman to make the same (or similar) mistakes, she must already be established as a problematic female presence, sexually, in this case (sexually promiscuous women are, after all, an almost universally worrisome topic to heterosexual men).This is one of the many curses video game women suffer under. It is assumed, on a subliminal level, that players can accept and ruminate upon the nature of a flawed, selfish man who changes his ways. He is chastised by many (including himself) for these decisions and mistakes.The difference between Drake and Chloe (the one among many that matters, in this case) is that Drake can makes these mistakes and think in this “problematic” way without the need for complimentary characterization.
The characters and actors sell their work excellently, and the characters of Elena, Chloe, and Drake are some of the most fun, interesting, inoffensive characters in video games.
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