- #Playstation 3 not reading uncharted 3 game movie
- #Playstation 3 not reading uncharted 3 game full
- #Playstation 3 not reading uncharted 3 game series
#Playstation 3 not reading uncharted 3 game series
The series was transportive, and each release felt, perhaps because of its comparative scarcity, like an overdue vacation. More than any of its contemporaries, the series managed to conjure that sensation of a summer blockbuster - not just in the movie’s story, but in the experience of being caught up in an adventure so compelling that you feel, if only for a moment, that you’re there. While Uncharted wasn’t the most financially successful of the cinematic game franchises, hamstrung playing on Sony hardware, it quickly became a critical darling.
#Playstation 3 not reading uncharted 3 game movie
More than its contemporaries, 'Uncharted' plays like a movie In Uncharted, there was a pleasant cognitive loop: the young video game medium trying to discover itself by imitating film’s own era of self-discovery. He looked like he got lost on his way to an Old Navy commercial cattle call, and, by gosh, he landed the role! While other games borrowed from war, crime, and sci-fi cinema, Uncharted cribbed liberally from the action serials produced at Republic Pictures in the 1930s.
#Playstation 3 not reading uncharted 3 game full
Uncharted: Drake's Fortune - the full title - introduced the world to treasure-hunter Nathan Drake, a likable everyman with gelled hair and a thermal sweater. The console, Sony hoped, would entice film lovers to try video games.Ī new adventure game, called Uncharted, would be the gateway. Along with playing games, it also was the best and most affordable option for the new Blu-ray format. Video games began to appear in mainstream outlets, like The New York Times, USA Today, and a hodgepodge of morning and evening news programs.Īt this same moment in time, Sony presented its new PlayStation 3 not only as a game console, but also as the heart of the home theater. Stylized cutscenes looked like adult versions of popular computer-animated film, and made for effective marketing, the latter of which copied the movie trailer formula down to the second.Ĭinematic games helped popularize the mediumīoth series, and other cinematic video games, achieved staggering success, accumulating billions of dollars in the decade that followed. Cinematic games like Call of Duty and Grand Theft Auto flagrantly pastiched action films from the 1950s to the 1990s, homaging filmmakers from David Lean to Michael Mann. The one-sided romance peaked in the mid-2000s, alongside the release of consoles that could create emotive, lifelike characters in believable three-dimensional worlds. When sought for approval, the most famous and beloved film critic of them all, the late Roger Ebert, lifted his nose in disgust, declaring "video games can never be art."įilm’s disinterest was, for the games industry, intoxicating. To this day, film critics use video games as pejorative when describing lesser films that are too frenetic or emotionally vacant. Every now and then a studio returns to adapt a video game, like it’s some trendy form of masochism unique to the bouge neighborhoods of Los Angeles. A series of middling to terrible game-to-movie adaptations tried to harvest games of their audiences, leaving both filmmakers and game publishers bitter and skeptical.
Studios have occasionally taken interest in video games in the way coastal businessmen eyed mining towns. Films retain a power and cultural capital that many people who publish video games envy.įor the most part, the people who have made and criticized films over the past two decades have shared little love for video games - which remains to be perceived, by skeptics, as a half-formed medium for puerile loners swilling Mountain Dew and struggling to bleach Cheetos stains from their sweatpants. People who sit at sturdy tables made of exotic woods and drink tiny bottles of electrolyte water invest hundreds of millions of dollars into films, so that they can screen at massive temples across the world where countless strangers spend their afternoons and evenings watching quietly, communally, and in the dark. They play on towering screens in Times Square theaters just as well as they do on bedsheets strung from tree to tree in a backyard patio. Spread across dozens of genres and forms, films can be funny or sad, artsy or pedestrian, unabashedly childish or confidently mature.
Why not? Films became, in the 20th century, the most popular form of storytelling.
For decades, big budget video games were designed to look like films.
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