Developer:
Naughty Dog Co-President: Evan Wells
Co-President: Christophe Balestra
Creative Director: Amy Hennig
Game Director: Bruce Straley
Art Director: Rhob Ruppel
Lead Character Artist: Richard Diamant
Musical Componist: Greg Edmonson
Publisher: Sony Computer Entertainment
Distribution: Blu-Ray Disc
Engine: Uncharted Engine 2.0
Release: Fall 2009
Predecessor:
Uncharted: Drake's FortuneGenre: Action / Adventure
ESRB: RP (rating pending)
Website: -
For 700 år siden tog den unge Venetianske Marco Polo med sin familie på en opdagelsesrejse til Kinas underværker. Kun få europæere havde set og opserveret en kultur some denne. Efter nogle år i det eksotiske Kublai Khan satte Marco kursen hjemad med en ordentlig sum guld og juveler.
Med hundrede passagerer fordelt over 14 skibe, var Marco Polo den eneste, der dukkede op ved Venices havn. Men hans dagbøger siger intet om de 13 forsvunde skibe. Nogle mener at pirater forårsagede tabet, mens andre føler sig overbeviste om, at det var skørbug og kolera, der gjorde udslaget. Men, hvad nu hvis, de forsvundne skibe kom ud for noget andet? Hvad hvis de glemte skatte gemte en større hemmelighed? En driftig skattejager er klog (eller dum) nok til, at undersøge den hemmelighed.
Det går nemlig op for Drake, at det handler om meget mere. Polo's hemmelighed er Shambhala, den legendariske Tibetanske by også kendt som Shangri-La. Det er hjemmet for Cintamani stenen, der siges at kunne opfylde ønsker. Spillet ligger ud i en frodig grøn mose.
Miljøer: Frodig grøn mose. En by i Nepal. Massiv isgrotte. Landsby i bjergene. Den forsvundne by Shambhala.
Nathan Drake-
"I suppose I should have quit while I was ahead. But what is it they say.. Fortunes favors the bold.. right.. lucky me."-
"What's going on.. *argh* that's my blood. That's my blood.. alot of my blood.""Whaat.. oh God! Oh crap.."Evan Wells"We want to go deeper into Drake and see what makes him tick, and go beneath the surface in a way we didn't have the chance to last time."Amy Hennig"Our last story was about Francis Drake. Our 'What-if' was: what if Francis Drake hadn't died when everyone thought he had? This time we're going with Marco Polo. Our catalyst is this man who catalouged all of his journeys - all the details of everything that happened in his life - but despite that he left one gaping hole.""In the last game we met Drake under special circumstances. Almost immediately he was called to rise above his normal nature and be a hero. But we hinted there were shadier sides to him. In this game we want to explore that. He's back in his natural element this time around, a rough and lawless world. What's a treasure hunter's place in the modern world? We want the player to see the contradictions. He's affable and charming, but he can also be a jerk. I don't want to imply we're getting heavy and angsty - it's still a classic adventure - but we really want to show a character with more colours to him. That's where the subtitle comes from - his world is a world of thieves.""He (Marco Polo) never once said anything about what happened to him. And on his death bed, after people had called him a liar for what he had spoken about in his book, he said: 'I didn't say even half of what I saw.'"[about 'true interactive storytelling']:
"It's a phrase with a stigma to it. People think it implies passivity, but we're trying to reclaim it. We took all our cues from what I call comfort movies - those action adventure films we all grew up watching. That's where we took all our pacing ideas from, and it seems perfectly respectable to say that's what we're doing: an interactive version of that experience we like so much, and that nobody else is doing.""You don't see films where it's all shooting. You see heroes creep up and slam someone into a wall. In the first game, you occasionally felt there was only one way to do things. In other games, stealth is always defensive - someone spots you sneaking past them, and it's all over. We wanted to put you on the offensive for once: stealth or shooting - both choices are valid at any time."Bruce Straley[aims to create:]
"A true playable cinematic experience. True interactive storytelling, essentially.""It's boiling down those elements that will work well in the game.""Every game has the challenge of trying to make an interactive experience, so there's certain things that lends themselves to cinematic action and things that don't. It's choosing your battles. It's a lot to do with pacing - ebb and flow - it's not all go-go-go, it's going to have character points, and sad moments to go with the action. If something's happening, it's you reacting to it. For example, we have the technology to allow an entire building to collapse while you're in it - and we can throw enemies in at the same time while that's happening. You're playing everything this time, not just the easy bits.""Stealth is often meticulous, frustrating and boring. Ours comes back to the cinematic experience - it's about keeping the pace. On a gameplay level, you wan't to play one set-piece in a variety of different ways, so stealth just gives you something more in the toolbox - another element, another choice that's available to you. Suddenly you can try out all different kinds of options. We call it action stealth. It's not Splinter Cell. It's choosing when and from where to enter combat."Christophe Balestra"We wanted a wide range of environments this time. We wanted to show this wasn't just a jungle game.""Uncharted used 30% of the PS3's SPUs, and this time we're maxing it out. That means we can blend and switch animations a lot quicker, and we have more facial joints in-game for characters to react with believable expressions. So if he's sneaking, his animation have to reflect that, and if he's on shaky ground, you'll see him checking his balance. If he's scared, you'll see the anguish and fear on his face."Rhob Ruppel"I've never done so much research for any project as I have for this. We didn't want any sense of a retread with this game, and we really wanted every bit of detail to make the world believable. Anyone can pile on details, but we also want to use them to create a mood. What would Ridley Scott do to a location like a temple? He'd layer on the right elements: tattered cloths and ropes and things that move in the wind. Our locations come alive. They breathe and have a backstory."