Uncharted 2 Chapter Titles In Essays

Digital Foundry is currently en route to GDC 2015, so there won't be a new article published today. However, as we make the long journey across to San Francisco, we're reminded of the first - and possibly the best - GDC talk we saw. That would be then-Naughty Dog Richard Lemarchand's hour-long journey into the making of Uncharted 2: Among Thieves, a title that remains one of the greatest games released in the last-gen era. A remarkably insightful talk that gave us fantastic background into the way Naughty Dog worked, we couldn't help but think that the presentation would translate into a great feature - and to this day this remains one of our favourite pieces. Originally published on the March 20th 2010, this is an article we're happy to share with you again.

Speaking at GDC 2010, Naughty Dog lead game designer Richard Lemarchand gave a candid presentation on the development of Uncharted 2: Among Thieves - a post-mortem of the game-making process that covered, in his own words, "what went right and what blew up in our faces like a red explosive barrel!"

Just one face in a crowd of hundreds, it's a unique opportunity to get a glimpse at the game-making philosophies and techniques of one of the world's leading developers. Here we recap the session in detail and expand upon it with Naughty Dog's assistance and our own unique visual assets. Enjoy!

"We start every new project with a shortlist of project goals and refer back to them throughout development to make sure that we stay on track," says Richard Lemarchand. "Our top-line goal was that we wanted to create something that a lot of us at the studio had dreamed about for a really long time: that is to say, a fully playable version of a big summer blockbuster action-adventure movie which kept the player in moment-to-moment control nearly all the time as drama exploded around him."

Lemarchand and Naughty Dog also sought to expand upon the strong character-driven premise of the first Uncharted, but with even more ambitious aims for the sequel.

"Our story in Uncharted is character-driven rather than plot-driven and we decided to include a larger cast of characters in Uncharted 2," Lemarchand explains. "The other characters would help to show us more of the world that Nate operates in and would act like emotional satellites, revealing more about the good and the darker sides of Nate's character.

"While Uncharted: Drake's Fortune [the first game] had greed and its consequences as the main theme, Uncharted 2: Among Thieves would be about trust and betrayal and whether it's better to stay loyal to your friends or to act in self-interest."

Character-driven rather than plot-driven sums up Naughty Dog's approach to story in Uncharted 2, meaning that Nate makes some new friends - and enemies - in the sequel.

The first Uncharted worked hard in melding gameplay and story into one coherent, almost seamless experience, and the Naughty Dog team pursued this "playable cinema feel" that would drive many of the different improvements to the technological side of the project, while prioritising a wide range of graphical enhancements to the team's proprietary engine.

In addition to that, multiplayer was green-lit for the sequel, with the co-op elements only being added very late on in the development cycle. "We knew that at the very least we wanted to make a competitive game with several different game types," says Lemarchand.

Uncharted 2 was created in a total of 22 months, and six months of that schedule was spent in pre-production.

"The way we handle pre-production at Naughty Dog is one of the things that we think makes us unusual as a studio, in that during pre-production we don't have anything in the way of conventional deadlines or deliverables," Lemarchand explains.

"Our pre-production period is a very freeform time where we brainstorm, we talk about gameplay and story ideas, make lots of concept art and pre-visualisation animations and we do as much prototyping of gameplay as we can with whatever tools we have at hand. By doing this we quickly come up with a handful of game ideas that are simply too good not to include in the game."

One such idea was a gameplay equivalent to the epic Paro Taktshang, the so-called Tiger's Nest monastery in Bhutan in the eastern Himalayas. Just a single photo of this incredible spectacle fired the imagination of the Dogs.

"The way that the monastery seemed to cling on to the side of the cliff seemed perfect for Uncharted," enthuses Lemarchand. "The photo gave us a good grounding in reality for the larger-than-life scenario that we invited, and was also suggestive of the kind of perilous climbing gameplay that we love so much, so we soon began to design a level based on the Tiger's Nest, long before we had any real idea of how it fit into the rest of the game."

The second tent-pole idea was the concept of Drake fighting on the top of a train as it sped through the landscape. However, with Naughty Dog adopting its signature perfectionist approach, the team wanted to execute the concept in a way never seen to date in a videogame.

"We didn't want to go down the same route that videogame train levels had taken in the past where the train is actually static and the ground is scrolling by, creating the illusion of movement," Lemarchand explains.

"We wanted to do it for real... gameplay ideas like these in pre-production can drive the technology part of the game. This level was one of the first we conceived and one of the last that we completed and it drove an enormous chunk of the new technology we created for Uncharted 2."

One of the centrepiece tech components was a system dubbed by the team as the "dynamic object traversal system", which essentially allowed Drake and all the other characters in the game to use their moves and combat techniques on any moving object or environment.

"This might not seem like a big deal but for those of us who have been working on 3D character action games for a while, it was pretty much the Holy Grail because it allowed us to do things that we'd only been able to dream of before," Lemarchand explains.

The two train chapters in Uncharted 2 created a unique technological challenge for the Naughty Dog team.

"It was amazingly complicated to get this to work. Our programmers had to touch or rewrite nearly every system in the game from the player control to objects to collision to enemies and allies AI... Taking the leap to do something like this took a lot of tenacity and courage, and we had to keep going even when it felt like an impossible task, but it paid off in countless ways - from the collapsing hotel to the convoy, Uncharted 2 was able to stand out of the crowd and wow our players with things they'd never seen before."

One of the game's most celebrated sequences - the Himalayan village - was also dreamed up during this crucial six months of development.

"One more idea that emerged from pre-production was that of Nate collapsing in the snow and being rescued by a mysterious stranger that for a long time we just called The Rescuer," Lemarchand reveals. "Nate would then wake up in a peaceful Himalayan village and discover that the saviour was a village leader called Tenzin and that they didn't share a common language.

"We planned that Nate would leave the village with Tenzin to explore a puzzling mountain cave system, before returning to find the village now under attack by a well-equipped army. We thought that this would create a particular sequence of emotion for the player almost entirely through gameplay. Even though much of the rest of the story was still undecided we were able to stick a pin in this idea and proceed confident that it would find a home in the game."

Literally the only tangible document that was derived from this half-year of hard work was the so-called Macro design, literally just an Excel spreadsheet, but hugely important for the developmental effort.

Direct from the Naughty Dog kennel. The Macro design was the key document created as a result of six months of pre-production. Click through to get a look at the docs close-up.

"It's a list of levels and corresponding story beats that shows the locations the game visits, what play mechanics are used in each level and whether they're core mechanics or special gameplay sequences," as Lemarchand puts it. "It shows what enemies the player will encounter and what allies will accompany Drake on each stage of his journey."

Nate's moves list was also significantly fleshed out, the idea being to make him even more adaptable, capable... and dangerous.

"We wanted to Drake to have the ability to pull out a gun and fire no matter what he was doing in the world, whether it was climbing, balancing on a fallen beam - even when he's in mid-air during a jump," says Lemarchand. "It didn't take us very long to flesh out his abilities, expanding Drake's traversal options like this was good for devising combat scenarios because we could throw down some enemies in any section of the game and in that way discover novel combat set-ups in the most unexpected traversal sequences."

The real-life Tiger's Nest monastery in the Himayalas was re-imagined for Uncharted 2. In pre-production, an early rendition of what would become this section of gameplay demonstrated to the team how time-consuming creating these set-pieces would be.

The original Uncharted also had the occasional flash of stealth gameplay, with bespoke animations and combat techniques where Drake could surprise enemies from behind and take them down silently. This was massively expanded in the sequel and became a core part of the gameplay.

"We also started work early in pre-production in improvements in AI that let players choose to engage with our combat setups in an action-stealth way," Lemarchand explains. "We gave our enemies an 'investigate' behaviour that they use when they hear or see something unusual and also a 'search behaviour' they would use if they had seen Drake but didn't currently know where he was. These techniques paid off right through the whole player experience so it was really good that we got started with them early in pre-production."

The final piece of the puzzle that was established in this phase of development was the methodology in handling Uncharted 2's epic set-pieces.

"One particular sequence from Uncharted: Drake's Fortune had stuck in our minds and really fired our imaginations," remembers Lemarchand. "It's a simple sequence from the Island Waterfall where an explosion near a truckful of enemies flips the truck and forms a bridge.

"It was a really dramatic moment, like something from one of our favourite action-adventure movies, and played out almost entirely in gameplay. It made us feel that we had only just begun to scratch the surface of what was possible in terms of delivering a truly interactive cinematic experience and we thought that making bigger set-pieces and moving away from so-called quick time events was probably the right way to go."

The Dogs realised that expanding this concept into truly spectacular set-pieces would involve a huge amount of work, and the first section they tackled was an early rendition of the collapsing bridge from the monastery level near the end of the game. The team realised that these sections would be incredibly time-consuming, and specialist technical scripting designers were hired to make sure enough manpower was on tap to get the job done, but even then, it was a massive task that dominated the production schedule.

Meanwhile, other team members in the Naughty Dog kennel spent the pre-production cycle simply... building stuff. According to Lemarchand, during the first Uncharted too much time was spent theorising about game design rather than getting on and doing it.

"We did our best to hit the ground running with Uncharted 2," he remembers. "The team was keen to keep up the production momentum built up over the previous three years with Uncharted: Drake's Fortune and using the first ideas we had, everyone could get down to creating art, implementing game mechanics and laying out levels almost immediately. By the time we hit full production we were in much better shape than we had been at the same stage during our last project."

The only real risk the team took with this approach was what Lemarchand describes as reaching a "soft end" to the pre-production phase, as the team transitioned into the full-on development of the actual game. All of the game-building going on had resulted in the all-important Macro design not being as final and complete as the team realised they would have liked.

"It took us a long time to figure out how the story would come together in the monastery in particular," Lemarchand muses. "When you play it through you might notice that there aren't really enough strong story beats there to match the length and the intensity of the gameplay and it's the first place in the game where the pace of the experience begins to lose steam a bit. Of course as soon as we realised what was happening, we scrambled to patch things up. At the end of the day we had committed too much to the level in terms of final art and we couldn't really bring about a perfect fix."

The lesson here for Naughty Dog was to firmly establish all elements of its Macro design before moving into full production. The gameplay should match the rising and falling rhythms of the story, and weak elements of the Macro need to be firmed up before too much in the way of final art is completed. Lemarchand pinpoints parts of the game where level design starts early and story design finishes late as the areas that should get special attention.

The initial block mesh work (top left) receives an artist draw-over, which is then reproduced in Maya (top right). After that, embellishing detail is added by the artists (bottom left) before we get the finished article from gameplay (bottom right).

April 2008, and the Naughty Dog team move onto full production of Uncharted 2. Now Micro design is created to accompany the Macro. Levels take shape, play mechanics are developed and the game proper begins to take shape.

"We do this Micro design work on a just-in-time basis, a bit like Gromit laying out the toy train tracks only just ahead of himself in 'The Wrong Trousers'. We had gotten a leg-up with the level layout during pre-production and we were just far ahead of the team that we were able to move forward smoothly," says Lemarchand.

"Even though this way of working might seem like a seat-of-the-pants way of doing things, in truth we think that it's the way that a lot of game development happens and we just have the courage to make it an official part of our process."

The team's "just build it" approach saw the traditional paper map method of level-creation taking a backseat. Levels were sculpted in a basic 3D form, dubbed "block mesh" by the team.

"We started by sketching out an experiential flow for the player then meeting with the artists and programmers who would be working on the level to get their input and ideas," Lemarchand explains. "Then we just started building simple geometry in Maya, roughing out a physical footprint for the level and playtesting it on literally anyone who came within arm's reach and getting constructive input from as many different people as possible.

"We started to do paint-overs with our concept artists to move our conception of the look of the level along and after that, it was simply a question of iterating as much as quickly as we could before handed off the block-mesh to our environment artists who would continue to iterate on the level, making progressive detail passes until we eventually arrive at the finished art."

The only issue with this approach was what Naughty Dog came to see as missed gameplay opportunities that more traditional level-planning may have brought to the table. Also, what a level designer envisaged as a blank wall could end up getting a lot of fine-detailing, making it look more important and more interactive than it was actually supposed to be.

"Unfortunately this is a pretty serious problem in Uncharted 2, especially in detail-rich areas," says Lemarchand. "In future we're going to try to find a better balance as regards these aspects of our layout process and we're going to have more of a layout focus on realistic architecture earlier and how its details will affect the player's experience."

A rare treat: a close-up look at the diagnostic tools used to optimise performance from the Cell, its SPUs and the RSX.

Inordinately large asset lists were created for each level covering objects, sound effects, visual effects and animations that were needed. The Naughty Dog team soon realised that the scope of their ambition far exceeded what they had handled in the three-year development period of the original Uncharted: Drake's Fortune.

"We need an enormous volume of entities to create a game like Uncharted 2," says Lemarchand. "For example we had 80 in-game cinematic animations - that we call IGCs - in Uncharted: Drake's Fortune, but we had 564 IGCs in Uncharted 2. This is an amazingly large amount of work to requisition and produce on an ad-hoc basis so the leads of each department needed to juggle their priorities a lot and work hard to get everything built in the right order."

Digital Foundry has talked often and at length about Uncharted 2's status as the most technologically advanced videogame available on the current generation of consoles - a state of affairs only challenged by the recent God of War 3. The vast range of enhancements and tech improvements saw the Dogs' internal tech rechristened as the Naughty Dog Engine 2.0.

"We went Cell processor-crazy on Uncharted 2. We were famous for saying that Uncharted: Drake's Fortune only used about 30 per cent of the capacity of the Cell processor," says Lemarchand. "So from the very beginning of the project, the programmers focused on making sure that we squeezed every last ounce of performance out of the Cell. The key to doing this was to decide which of the jobs we wanted to farm out to the Cell and then writing hand-optimised code to do those jobs as efficiently as possible."

Unbelievably, considering that the original Uncharted is still such a beautiful-looking game, almost all of its visual effects were achieved using the RSX graphics chip pretty much in isolation. For Uncharted 2 - and indeed many recent games - Cell is used as a parallel graphics processor working in tandem with the RSX. Tasks traditionally associated with the GPU are passed off to the Cell's SPUs.

What this means in basic terms is more time for the RSX to do its thing while the Cell takes care of the vast majority of Uncharted 2's excellent post-processing effects. Screen space ambient occlusion (SSAO), for example, was all done completely on the Cell.

Naughty Dog and the ICE team show off their hand-optimisation SPU coding skills.

"The SPUs gave us an increase in the quality of our bloom effects," Lemarchand adds. "Depth of field, which was kind of a hack in the first Uncharted, was a much more physically correct solution in Uncharted 2, which made the times that we used it in the service of cinematography that much more powerful as a story-telling tool.

"We also implemented a filmic HDR response curve and Uncharted 2 has a much wider range of colours between light and dark than its predecessor making it look much more like the game was shot on film, supporting our goal of making a cinematic reality."

All of this enhanced tech came at a price though and as Lemarchand puts it, with just nine months before launch, the team "suddenly realised that our frame-rate was to put it bluntly, pretty crap". According to Naughty Dog co-president Evan Wells, Naughty Dog received technological assists from Insomniac Games and Killzone creators Guerrilla Games in implementing the triple-buffer v-synced technique that completely eliminated the tearing from Uncharted.

"We had to mobilise to fix it and right up to the end of the project we had a huge focus on frame-rate," remembers Lemarchand. "Both our programmers and artists had to work very hard to make sure that we hit 30FPS consistently throughout the whole game and so banish some of the issues with tearing and stuttering that we experienced with Uncharted: Drake's Fortune. We had to give people the analytic tools they needed to keep the game inside the frame-rate and we had to make a memory sacrifice to achieve the triple-buffering solution that finally got rid of the tearing."

Technologically speaking, the game concepts the Naughty Dog designers had come up with during pre-production were affecting and indeed helping to redefine engine performance and capabilities throughout the development cycle.

"The train level was one of the first levels we started on and one of the last that got finished and to be frank it was an evil monster of a level to create," Richard reminisces. "There are 50 separate cars that are really moving along through our streaming environments at a pretty good lick. You can see all 50 cars at pretty much any time during the level and when we first started to build the level, when we looked at the first car from the last car, a little lamp hanging on the front of the first car was still swinging! We hadn't really used a level of detail (LOD) system in the first Uncharted but the train level made us put it into action in double-quick time."

The Naughty Dog dynamic object traversal system was being pushed to its limits by the train stage, with the team stubborn in its belief that the train should only progress in the world if the player - and everything else in the level - was moving along with it.

"In order to make this happen we had to do a lot of weird stuff, sometimes teleporting the train into new positions, depending on what you did," explains Lemarchand. "And this, combined with the general craziness of doing the train level led to a lot of bugs, particularly with the enemies' navigational systems. They were getting confused every time the train teleported for instance.

"Also, for a long time, when you shot the enemies and they dropped their weapons, the weapon would zoom off down the track as it shifted into the coordinates system of the world. Even better than that, grenades would fly back into your face and blow you up.

"To cap things off, we realised at one point that the player's gun-aim raycasts were aiming at where the enemies had been a frame ago. This hadn't made much difference in most of the levels but in the train level the enemy was back down the track two metres a frame ago, so suddenly your aim was two metres off. So that was just another bug that we had to fix."

Fixing those bugs in the most extreme of cases meant that the gameplay mechanics throughout the entire game were tightened up as a consequence. Every system was made more robust owing to the developmental headaches inflicted by that one level. As Lemarchand puts it:

"We could say to each other, 'If it works on train, it must work everywhere!' In other words, not only had we made our game run at 30 frames per second, we'd also made it run at 60 miles per hour!"

Another example of game systems being tightened across the board came about through Naughty Dog's multiplayer code. Genuine concerns from gamers about the single-player experience suffering owing to the inclusion of network play turned out to be unfounded based on the quality of the final product. Indeed, from the team's perspective, incorporating multiplayer added to the polish of the single-player experience.

"Some internet-posting fans of Uncharted: Drake's Fortune were concerned that our single-player game would suffer as a result of the attention that we'd have to give our multiplayer game," remembers Lemarchand. "Even though we did have to do a lot of hard work to realise our ambitions it turned out that the multiplayer actually helped the single-player game.

"We had to tighten up the player mechanics and make them a lot snappier once we'd got them into the multiplayer context. That actually fed back into the single-player game and gave it a much better, tighter feel. These are the kind of synergies we love to find when we're building a game and we're always on the lookout for them."

The basics of the multiplayer mode were incredibly straightforward - Drake's move-set from the single-player game was dropped straight into the new networked modes and as Lemarchand notes, "it immediately felt right". The baseline net code itself was written by one of the Naughty Dog co-presidents, adding to his already considerable workload.

"Christophe Balestra wrote all of our networking code in-house from the ground up," shares Richard Lemarchand. "He gave us a very solid base to build our multiplayer game on and he was able to support us throughout the whole of development even though he had a lot of other responsibilities."

Naughty Dog hired a dedicated multiplayer designer in August 2008, and as the multiplayer game took shape, half-hour playtests were scheduled daily in the Naughty Dog kennel, with the whole office invited to participate.

"The short, often very heated discussions that would take part after the playtests were vital in helping refine the multiplayer gameplay and troubleshooting," notes a smiling Lemarchand.

Co-op missions set in what the team call "alternate realities" of existing single-player missions were also scheduled, but this only came about some time into full production and in retrospect, the Naughty Dog team felt that at this point maybe they were beginning to push themselves too far in terms of the torturous workload. As 2009's E3 drew closer, the developers started to feel the harsh realities of getting stages of the game in a state fit enough for public consumption.

"About two months out from E3 last year we started to organise what we were going to show at the event," Lemarchand remembers. "We had two big deliverables: a playable demo of a section of the game in our fictional Nepalese city and a movie-style trailer that would show a lot of different parts of the game.

"However, while we had started work on everything we wanted to show, a lot of the assets and gameplay were going to need a great deal of polish if they were going to be as impressive to E3 attendees as we wanted them to be. We often do this with our projects at Naughty Dog: using a deadline showing our game to the public to drive production. The raw terror this inspires certainly gets us to buckle down to some serious polish!"

The E3 demo of Uncharted 2: Among Thieves was one of the undoubted highlights of the Sony presser, notable in that instead of relying on canned footage, Naughty Dog co-president Evan Wells gave what Richard Lemarchand describes as "an amazingly sure-footed live drive" on stage during the event. The accompanying trailer that was released at the event also put the scale of the task in finishing the game into perspective for the developers.

"The next time you watch that E3 trailer, bear in mind that the things you see in there were almost the only things finished to that level of polish," shares Lemarchand. "If the camera had turned just a metre to the left or the right, you'd have seen behind the scenes - and not in a very good way. Making the demo and trailer was very useful. It told us exactly how much work we'd have to do to get it up to a level of polish we were happy with. We found out that was a lot of work."

Despite the long hours being put in by the Naughty Dog team, the scale of the task facing the team remained colossal.

"It was around this time in June 2009 that we realised how much game we'd bitten off. We'd either have to chew extra hard or make some cuts. Or choke," says Lemarchand.

"Between multiplayer, co-op and the single-player mode, we'd been really ambitious, probably over-ambitious. In particular, even though we'd tried to plan for them, the set-pieces in single-player mode took much longer to create and polish than we'd anticipated. Putting them together was immensely difficult - far worse than some of us had experienced even in our most brutal crunches."

Naughty Dog's solution was to streamline the game without unduly affecting its flow.

"We set about seeing where we could make some cuts and reduce the scope of the game," explains Lemarchand. "We managed to make layout reductions to several levels early enough that we hadn't invested that much in terms of art resources in the affected levels. We'd also lived with the prototype block mesh versions of the levels long enough that we could see fairly clearly what we should keep and what we should cut."

There's no mandated crunch at Naughty Dog, but as Richard puts it, "we have hired people with personality types that make them hard-working, willing to accept responsibility, and perfectionist."

Downtime became a very precious and rare commodity as the Uncharted 2 development cycle drew to a close and lessons were learned in how the team plans to approach the final months of its next game.

"While we don't think we'll ever be a studio that works nine-to-five year round, we do take the threat that crunch presents to the integrity of the studio and the wellbeing of the Naughty Dogs very seriously," observes Lemarchand.

"We're continuing to discuss ways so that we can avoid ever having to repeat the experience of Uncharted 2 in terms of the toll that the project's crunch took. We know that we have to become more disciplined about setting and hitting internal targets as well as external ones to get more traction on our projects earlier. We're going to try other approaches like putting mandatory limits on the amount of time people can spend at the office."

Part of what makes Uncharted 2 the game that it is comes down to the process of refining the gameplay experience - polish, as Richard Lemarchand calls it. Part of that involves getting gameplay tested as much as possible. The Naughty Dogs worked on the principle of testing each other's contributions to the game, but a fresh perspective on the work proved to be invaluable.

"In the course of Uncharted 2 we did more play-testing than we'd ever done before, running 15 play-tests over the last 10 months of the project compared with only seven throughout the whole three years of the developed of Uncharted: Drake's Fortune," shares Lemarchand.

"These were formal play-tests with members of the general public who played as much game as we had right through. Play-testing and metric data analysis have always been very important tools for us but they were very important in Uncharted 2 because the complex sequences of gameplay only came together very late in the project and in order to ensure we were not introducing any difficulty spikes we had to scramble to add additional 'sanity check' play-tests right up to just days before gold master."

The Uncharted 2 trailer from August 2009 gave us further insight into the title ahead of its eventual release in October.

As the play-testers ran through the game, metric data of their gameplay was phoned home across the Naughty Dog network: elements like how long it took a player to complete a part of the game, or how frequently they died between checkpoints.

"We put that data into a spreadsheet and looked at the maximum, minimum and median values for each point of data, colour-coding cells that had values above certain targets" Lemarchand continues. "Parts of the game that were potentially problematic immediately jumped out at us and we could then look at the gameplay vids we'd recorded during the play-test sessions to investigate each potential problem. One poor player had to play the train level fight 27 times before they finally beat it. That was horrifying when we saw that. Luckily we were able to spot that and fix it."

As the game's development progressed towards its eventual conclusion, levels were locked down and completed in groups rather than the whole game coming "due" on the same date.

"With a game as large as the one we were making it made sense to do this in order to have fewer moving parts as we moved closer to the end of the project," Lemarchand explains. "We'd always planned to have long alpha and beta periods of six weeks each. We simply needed that much polish and bug-fixing time for the game that we'd made and we're firm believers that allocating sufficient polish time can make or break a game's quality."

Popular now

Uncharted 2 was completed on time and to schedule, with the gold master dispatched on August 20, 2009. The Naughty Dog team is firm in its belief that it has crafted the best game it has ever made, a state of affairs backed up by an enormous amount of Game of the Year awards: 33, when Lemarchand presented at GDC, but now 34 thanks to the addition of the Game Developer Choice Award. At the time of writing, it's gearing up for the BAFTAs in London on 19th March, where it's nominated in nine categories [UPDATE: And if you're wondering, it won four].

"At some point during the development of Uncharted 2: Among Thieves we started calling it Uncharted 2: Among Friends... just for a laugh really, and to keep ourselves geed up through all of this hard work we were doing," muses Lemarchand.

"But it also meant something deeper, at least it did to me. We work in a fast, loose seat-of-the-pants way that puts an emphasis on our team members taking responsibility for the production and organisation of their own work and the design of the game.

"We encourage our team to stay constructively critical and honest with each other at all times and to always keep an open mind about our design and production process to make sure we're always working in the best ways we can possibly work. We always take the time to listen to each other respectfully and we never make things personal.

"We always have to remember that we're all in it, working together towards the greatness of the game. Working in a way that builds strong collaborative relationships between our team members is the only way we can make a game like Uncharted 2. There is nothing as satisfying of course as the feeling that you're working at your optimal capacity with peers that respect and trust you."

After an intense hour giving his presentation, Richard has one final piece of advice to his fellow game-makers at GDC.

"If you're working on a story game, make sure your game is about something," he says. "Human experience is incredibly varied and complex and when we discuss it in our games with subtlety and nuance, people invest their most personal values and fears and hopes into the experience and it becomes not only more entertaining but more culturally valuable."

This sequence from Uncharted: Drake's Fortune convinced the Naughty Dog developers that 'active cinematics' based on pure gameplay could replace quick time events.

The triple-buffer system helped maintain frame-rate and eliminate screen-tear, as this Digital Foundry analysis featuring key gameplay sequences reveals.

An edited montage of events from the two chapters of Uncharted set on the train, known for a time as 'Drake's on a Train' at the Naughty Dog offices. These stages were the ultimate work-out for the team's new dynamic object traveral system.

Naughty Dog's E3 multiplayer teaser. Beta code arrived in gamers' hands in early June 2009.

The effort required to produce the E3 demo and this trailer emphasised the scale of the remaining work faced by the team.

Uncharted 2: Among Thieves

Game Script by Robert Carr

More for Uncharted 2: Among Thi... (PS3):

_ _ _ _ _ ____ | | | |_ __ ___| |__ __ _ _ __| |_ ___ __| | |___ \ | | | | '_ \ / __| '_ \ / _` | '__| __/ _ \/ _` | __) | | |_| | | | | (__| | | | (_| | | | || __/ (_| | / __/ \___/|_| |_|\___|_| |_|\__,_|_| \__\___|\__,_| |_____| _ _____ _ _ / \ _ __ ___ ___ _ __ __ _ |_ _| |__ (_) _____ _____ ___ / _ \ | '_ ` _ \ / _ \| '_ \ / _` | | | | '_ \| |/ _ \ \ / / _ \/ __| / ___ \| | | | | | (_) | | | | (_| | | | | | | | | __/\ V / __/\__ \ /_/ \_\_| |_| |_|\___/|_| |_|\__, | |_| |_| |_|_|\___| \_/ \___||___/ |___/ ASCII Art from http://www.network-science.de/ascii/ +----------------------------------------+ | Game Title: Uncharted 2: Among Thieves | | Guide Type: Game Script | | Platform: Playstation 3 | | Version: 1.0 | | E-Mail: rcarr0(at)aol(dot)com | | First Updated: 22/11/2009 | | Last Updated: 05/12/2009 | | FAQ Size: 203KB | +----------------------------------------+ |=============================================================================| | Table of Contents | |=============================================================================| 1. Version History 2. Game Script 2.01. Chapter 01 - "A Rock and a Hard Place" 2.02. Chapter 02 - "Breaking and Entering" 2.03. Chapter 03 - "Borneo" 2.04. Chapter 04 - "The Dig" 2.05. Chapter 05 - "Urban Warfare" 2.06. Chapter 06 - "Desperate Times" 2.07. Chapter 07 - "They're Coming With Us" 2.08. Chapter 08 - "The City's Secret" 2.09. Chapter 09 - "Path of Light" 2.10. Chapter 10 - "Only One Way Out" 2.11. Chapter 11 - "Keep Moving" 2.12. Chapter 12 - "A Train to Catch" 2.13. Chapter 13 - "Locomotion" 2.14. Chapter 14 - "Tunnel Vision" 2.15. Chapter 15 - "Train-Wrecked" 2.16. Chapter 16 - "Where Am I?" 2.17. Chapter 17 - "Mountaineering" 2.18. Chapter 18 - "Heart of Ice" 2.19. Chapter 19 - "Siege" 2.20. Chapter 20 - "Cat and Mouse" 2.21. Chapter 21 - "Convoy" 2.22. Chapter 22 - "The Monastery" 2.23. Chapter 23 - "Reunion" 2.24. Chapter 24 - "The Road to Shambhala" 2.25. Chapter 25 - "Broken Paradise" 2.26. Chapter 26 - "Tree of Life" 3. Credits 4. Copyright ------------------------------------------------------------------------------- |=============================================================================| | 1. Version History | |=============================================================================| Version 1.0 - 05/12/2009 - Script fully complete. Submitted to GameFAQs. |=============================================================================| | 2. Game Script | |=============================================================================| "I did not tell half of what I saw for I knew I would not be believed..." - Marco Polo on his deathbed, 1324 |==============================================| | 2.01. Chapter 01 - "A Rock and a Hard Place" | |==============================================| Nathan Drake awakens on a train. A flickering light swings overhead. Curtains lining the windows have been ripped and torn. Nathan holds his head and groans. Nathan: What's going on...? Nathan groans again. He looks down and notices his hands are covered in blood and he is wounded in the stomach. Nathan: That's my blood... That's my blood, that's a lot of my blood... Nathan rests his head back on the seat and looks out the window. Outside, he sees a snowy cliff. Nathan: What...? He quickly ducks to the side as a wooden crate and an oil drum flies past him. He looks back and sees the oil drum falling out the back of the train behind him. Nathan: Oh God. His chair starts to break away. Nathan jumps out of his seat and grabs hold of the seat in front of him as his seat falls away. He loses his grip and falls through the train carriage. Nathan: (screams) Nathan lands on the handrail on the outside of the carriage and quickly grabs hold of it. Nathan: Oh, crap. The train carriage is teetering over the edge of a cliff. A fire burns on the mountains nearby. Nathan starts climbing up the side of the train's chassis. The train shakes and a large boulder falls from the edge of the cliffs above. Part of the pipe starts to break away. Nathan: ...It's ok... it's ok... come on... The pipe twists to the side. It swings round and slams Nathan into the side of the train. Nathan climbs round to the roof of the train and climbs back into the carriage. Nathan climbs through the carriage and back outside. As he nears the top of the carriage, the carriage edges closer over the cliff. A door on the side of the carriage swings open and luggage falls out. Nathan climbs onto the second carriage on the edge of the cliff. He runs through the carriage and leaps out of it as the train falls over the edge. Nathan pulls himself up onto the cliff and rolls onto his back, gasping for breath. He loses consciousness and flashes back to the past. In his flashback, Nathan is sitting at a bar on a beach by the ocean, drinking a bottle of beer. A man walks up to him and leans on the bar. Harry: Buy me a drink, sailor? Nathan: Harry Flynn?! Hey! Harry: Hey! Nathan gives Harry a quick hug. Nathan: What the hell are you doing here? Harry: I'm looking for you, mate. Nathan: Uh-oh. Should I be flattered, or worried? Harry grabs the bottle of beer on the bar. Harry: Maybe a bit of both. Nathan: (laughs) Harry: C'mere - Harry and Nathan sit down at a small wooden table nearby. Harry: I've got a job for us. Nathan: Really? Harry: A client is willing to part with a huge sum of cash if we 'acquire' a certain object for him. Nathan: All right, I'm listening. Harry: Now - you're not gonna like this. Harry puts a pamphlet down on the table. Nathan: Oh, no. No, you're out of your mind. Nathan pushes the pamphlet away. Harry: Yeah, just - just hear me out for a sec - Nathan: Flynn, we both know two people who were killed trying to lift something outta this place. Harry: And one who made it out. Nathan: Yeah, barely. Harry: I can't do this without you, Drake. You're the only one who's cracked it. And you know better than anyone, it's a two-person job. Nathan: No, no, no - three, actually. Harry: Right. And speak of the devil - here she comes now. A woman walks over to the table. Nathan: Wh -? Chloe: Chloe Frazer. Nathan shakes Chloe's hand. Nathan: Nate. Drake. Nathan Drake. Chloe walks around Harry, brushing one hand along his neck. Chloe: Hello, Harry. Harry: Chloe here's one of the best drivers in the business - she'll take good care of us. Chloe sits down at the table. Nathan: I bet. Harry: All right, look - I've got it all figured out. We go in through the sewer - Nathan: Loving it so far. Harry: That puts us in the courtyard. From there we scale up the wall, run across the rooftops, and just drop down into the exhibit hall. Bob's your uncle. And what is worth all this trouble, I hear you ask...? Nathan: I didn't, but go ahead. Harry turns the page and points to a lamp in the corner of the page, circled in red pen. Nathan: That's it? An oil lamp? Harry shows Nathan a photo of the same oil lamp. Harry: Yeah. Nathan: It's worthless. I don't get it. Chloe: Neither do we. That's why we tracked you down. Nathan: Well, it sounds like you're working for a nutcase. Some collector, who's got too much time and money on his hands. And by the way, this - is not worth any of it. Harry: But there's more... How's your 13th-century Latin, mate? Harry gives Nathan another piece of paper with a paragraph written in Latin. Nathan: Where'd you get this? Harry: 'Borrowed' it from the files of the nutcase. Nathan: 'In Trebizond we were set upon by thieves. Father, Maffeo and I were robbed of our greatest treasures...' This was written by Marco Polo. Chloe: Yes, that much we were able to work out. Harry: Unfortunately, the rest of it's nonsense. Nathan: Wait, hold on... 'So that it should not fall into the wrong hands, I concealed my great sorrow in the unlikeliest place. The light of the Great Khan shelters the fate of the thirteen.' Harry: See what I mean? It's just gibberish. Chloe: He's talking about the lost fleet. Nathan: Yeah... Harry: Hello, someone want to fill me in? Nathan: Marco Polo leaves China with 600 passengers and fourteen ships, loaded down with treasure from Kublai Khan. Now, he lands in Persia a year and a half later with only one ship left, and only eighteen passengers. Now, he recorded every detail of his journey but he never told what happened to all those ships, and the passengers. Chloe: So - so, somewhere out there - there are thirteen ships, loaded with the emperor's treasure, waiting to be found. Nathan: Yeah, and that is what your client is after. Nathan holds up the photo of the oil lamp. Nathan: Look at this lamp. It's covered in Mongolian script - it must've been a gift from Kublai Khan. Harry: 'The light of the Great Khan - shelters the fate of the thirteen.' Chloe: '...shelters the fate of the thirteen.' Nathan: Marco Polo hid something inside this lamp. Something that pinpoints the site of the lost fleet. Chloe: So... we're dicking this guy over, right? Nathan: Damn straight! Harry: Absolutely! Harry stands up from the table. Harry: You in, then? Chloe also stands. Nathan: What the hell. Nathan stands up. Nathan: What could possibly go wrong? They clink their bottles together and start drinking. The flashback ends. Nathan wakes up on the icy cliffs at the site of the train crash. He stands up. Nathan makes his way through the wreckage to another train carriage where he finds a wooden door with a padlock. Nathan: (sighs) Course it's locked, it's always locked. Nathan shoots the padlock off the door and continues making his way through the wreckage. He spots a soldier nearby. Upon shooting him, another train carriage explodes. Nathan: Karma's a bitch. Nathan continues climbing through the wreckage to another carriage. He climbs out of the carriage through a broken skylight. Another carriage nearby explodes and he is thrown back into the carriage. He hits the floor. He tries to stand again and the exploding train carriage collides with the one he's in. The carriage overturns several times and Nathan is knocked unconscious again. In another flashback, Nathan awakens to a knock at the door. He is napping in bed in a hotel room. Nathan walks over and opens the door. Chloe is standing outside. Chloe: Hello. Nathan looks around out in the hallway and pulls Chloe into the room. Chloe: Well, so much for foreplay. Nathan closes the door and locks it. Nathan: You mind telling me what the hell is going on? Chloe: You mean with Flynn? Nathan: Yeah, you mighta warned me. Chloe: And miss the look on your face? Anyway... you haven't exactly made yourself easy to find. Chloe walks over to a cabinet and picks up Nathan's pocket diary. Nathan: Talk about making yourself easy... Nathan walks up to Chloe and snatches the diary away. Chloe: Oh, you're not jealous... Let's not forget who walked out on whom, after all. You don't get to be jealous. Chloe pushes Nathan onto the bed. Nathan: Now, wait a minute, Chloe. Chloe: If it makes you feel any better, my relationship with Flynn is strictly professional. Chloe sits on Nathan's lap and puts her arms around him. Nathan: Really? Chloe: Mostly professional. Nathan sighs and falls back onto the bed. Chloe: When I figured out he was actually onto something, I thought you'd want to be in on the action. Chloe leans over Drake. She takes his hands and puts them on her butt. Nathan: So what's the plan? Chloe: Just like we said. We pull the heist, we find the ships, and make off with the treasure. Nathan: With Flynn. Chloe: Mm-hm. Nathan: And then? Chloe: And then, we split the take three ways, and you and I just disappear. Together, this time. Nathan: I see... Chloe: Until then, he can't know about us. Chloe leans in to kiss Nathan. Nathan: He's gonna be pissed. Chloe: He's gonna be fine. Chloe pushes Nathan back down on the bed. Chloe: Trust me. They kiss. The flashback ends and Nathan wakes up back on the train carriage. Nathan climbs out of the wreckage and continues through the blizzard. He finds a dagger buried in the snow in front of him. He drops to his knees in front of it and pulls it out of the ground. He sits up against a carriage and looks at the dagger in his hands. ISTANBUL Four Months Earlier Nathan, Chloe and Harry are riding a dinghy across the ocean at night. Nathan: You sure you're up for this? Harry: Feel a lot better if I had a gun. Nathan: We won't need 'em. Harry: - a little insurance, that's all. Nathan: Flynn, they're just museum guards and we have their patrols all mapped out. Relax. Harry: Relax? (laughs) Relax? Have you ever been in a Turkish prison, mate? If we get caught, they will lock us up and throw away the sodding key, you do realise that, don't you? Nathan: Better than you do. Harry: Well, you may fancy that kind of thing, but I don't. Nathan: (laughs) Harry: We can't afford to make any mistakes. Nathan: Yeah, and we won't. The dinghy speeds up. Chloe turns the dinghy round and stops in front of a cliff. Chloe: We're here. Nathan and Harry look up and see an open sewer grate above. Inside the sewers, Nathan welds through a grate blocking the way and pushes it down. They step into the tunnels and shine their torches around. Harry: This way. Nathan, Chloe and Harry make their way through the sewer tunnels. Harry: So what do we do if they switch the patrols? Nathan: We figure it out as we go. Harry: We cannot fumble our way through this. Nathan: I don't 'fumble' - I improvise. Chloe: Oh, is that what you call it? Nathan: Yeah, I'm uh... adaptable. Chloe: 'Adaptable.' Harry: You cocky bastard. Nathan: (laughs) They reach the end of the tunnels. Harry: There. Harry runs over to a handrail. Harry: What did I tell you? He points to an archway across from them. Harry: That passage there is gonna take us right under the museum. Nathan: You called it, all right. Harry: You need to have a little more faith in me, chum. Chloe: Okay... This one here is me. Nathan: All right, remember, that tower's our only way into the exhibit - but we can't even get close with those floodlights on. Chloe: We've gone over this. Nathan: Just make sure you cut the power by the time we reach the second courtyard. Chloe: The lights will be out. Chloe looks at Harry. Chloe: I'll have the van waiting at the rendezvous point. Just make sure you get your asses out of there in time. Nathan: Fair enough. Harry: All right, enough chat - let's do this. Harry vaults over the handrail and lands in the water below. Chloe starts walking away. Nathan: Chloe - Chloe stops and looks back at Nathan. Nathan: See you on the other side. Chloe: Looking forward to it. Chloe walks off down the tunnel in the opposite direction. Nathan vaults over the handrail and joins Harry. |============================================| | 2.02. Chapter 02 - "Breaking and Entering" | |============================================| Nathan and Harry start making their way through the sewers. Nathan: You sure you know where you're goin'? Harry: Don't I always? Nathan follows Harry through the sewer. Harry: Don't you love the way the water makes your jeans all squidgy? Nathan follows Harry across several pipes attached to the wall. Harry: It's like the good ol' days, isn't it? Nathan: Yeah, when were those again? They reach a dead end. Harry: Oh, wait, this can't be right. We must've made a wrong turn somewhere. Nathan looks up and spots a ladder above them. Nathan: Hey - Now whaddya bet that will take us right into the boiler room? Harry: And from there, we're in. Nathan: (laughs) In like Flynn. Right? Harry: What? Nathan: In like Flynn. Harry: I don't get it. Nathan: Just give me a boost. Harry gives Nathan a boost onto the ladder above. Nathan: ...Here it comes. Nathan drops the ladder down to the ground. Harry: Thanks. Nathan and Harry climb up a wall to another ladder. Nathan: Almost there, you ready? Harry: No guts, no glory. Nathan climbs up the ladder. Nathan: Here we go. Nathan pushes the manhole cover away and climbs up into the boiler room. In the boiler room, Nathan vaults over a pipe and finds another ladder above. Nathan: Just reach up there and grab the ladder. Harry: Okay... all right... Nathan gives Harry a boost up onto the ladder. Harry: There, I dropped it down for you. Nathan and Harry climb another wall. Nathan: All right, this is the way to the courtyard. Nathan and Harry reach a pipe that has steam coming from it. Harry holds a hand over the steam. Harry: Ow - well, we're not going this way. Not if you want to keep your skin. Nathan: All right, there's gotta be a shut-off valve around here somewhere. Harry: See if you can find it then. Nathan holds his hand over the steam. Harry: Are you mental? We've got to turn it off somehow. Nathan finds the shut-off valve and turns the steam off. Harry: You got it. Nathan and Harry continue across the sewer until they reach a row of windows. A guard is patrolling in the room. Nathan and Harry press their backs up against the wall as the guard walks past. Nathan: Okay, now there should be a door just around this corner. That's our access point. Once we're through, just stick to the plan. You got me? Harry: Tell me you didn't miss this. Nathan: I'm here aren't I? Nathan and Harry turn the corner and find the door. Nathan tries to open the door. Nathan: It's locked. Harry: Good job I came prepared. Harry twirls a lockpick around on his finger. Nathan: (laughs) Harry: I pick more than my nose, my friend. Harry kneels down and starts to lockpick the door. Nathan: Wait! There's an alarm. That's new since last time. Harry stands up. Harry: Great, now what? Nathan: Well, I can disarm it, if we can find the junction box. It's gotta be around here somewhere. Nathan finds the junction box. He opens the junction box and switches the alarm off. Nathan: There, that oughta do it. Harry: All right, we're in. Nathan and Harry enter the next hall where they find another guard with his back to them. They take cover behind an archway in the middle of the hall. Harry: Shit. Nathan: I got him. Nathan knocks the guard unconscious. They hurry forward and crouch behind a balcony. Harry points to the tower above them. Harry: There's the tower. Nathan: Yeah - but we can only get to it from the roof, and we can't get to the roof from here. We're going to have to make our way to the next courtyard. Through that gate over there. Harry: Well, let's do it. Nathan and Flynn deal with another guard in the area below. Harry: We've got to get up to that balcony. We can climb the gate over here. Nathan: Got it. Nathan and Harry climb up a nearby gate to a balcony above. Another two guards are nearby. Harry: Crap. I've got the other one. Harry and Flynn tackle the two guards and crouch behind a balcony that overlooks a large courtyard. The gate at the back opens and two more guards walk through. Harry: C'mon, what are you waiting for? Nathan and Harry vault over the balcony and land in the courtyard. Harry: Okay, we're almost there. I'll go right, you go left. Nathan and Harry split up and knock out the guards in the courtyard. They approach the large gate at the back of the room. Nathan: Okay, we should be able to lift this up, sneak right under. Harry: Whoa - whoa - not so fast, there's another alarm. Harry points to an alarm in the top corner of the gate. Nathan: Ah, great. You wanna get this one? Harry turns to Nathan and raises an eyebrow. Nathan sighs. Nathan: Wait here. Nathan finds the junction box and switches off the alarm. Nathan: Okay, it's off. Nathan returns to the gate and approaches with Harry. Nathan: All right, one, two, three... all right, go - yeah... Hurry! All right... Easy... easy... Whew... They both struggle to lift the gate up. Nathan holds the gate while Harry crawls under. Harry holds the gate from the other side as Nathan crawls under and they both quietly lower the gate back down. Nathan: All right, we gotta cross this courtyard to get onto the roof. Harry: Okay, I'll just let you do all the ass-kicking, all right? Nathan: Right... Harry: Head for the fountain. Nathan and Harry stealth attack the guards in the courtyard. Nathan: Now we just gotta find a way up to that window. Harry: Which window? There's a lot of bloody windows. Nathan and Harry climb across the wall to the window and drop down into a storage room. They run forward and crouch down behind a low wall. There are four guards in the room. Nathan: (sigh) Crap. Now what? Harry: It's time to tip the odds back in our favour. Harry holds up two guns. Nathan: Oh, that's brilliant - guns? What are you thinking? Harry: Relax, Gandhi, they're tranquiliser guns. Totally non-lethal. Your conscience will remain unscathed. Nathan: Oh, well, good idea. Nathan takes the gun. Harry: Great. Okay, little bit of advice: these things have lousy range, so we still have to get in close. You okay with that? Nathan: I know how to shoot a gun, genius. Harry: All right. All right, let's take these guys out. Nathan and Harry take out the four guards in the room. Nathan: We gotta get up to that walkway. Nathan approaches a cart in the room. Nathan: This could help. Nathan and Harry push the cart over to a wall. Harry: Okay, for something with wheels, this is very heavy. Nathan: There, that'll work. Harry: Now all we need is a horse. Nathan and Harry climb up to the walkway. Nathan: Those rafters will get us onto the roof, if we can get up there. Harry: Good thing one of us thought ahead, eh? Harry throughs a rope up to a nearby wall and hooks on to it. Harry: All yours. Nathsn starts climbing the rope. When he reaches the top, another guard enters the room and Harry surrenders. Nathan takes out the guard. Harry: Whew, thanks mate. Nathan edges across the wall to the rafters. Nathan: C'mon. Harry: All right, all right, I'm comin'. I think I'm gonna take the elevator next time. Nathan and Harry cross the rafters and walk onto the rooftops. Nathan points to the tower. Nathan: All right, there's the tower. Harry: Getting closer. Nathan: Appreciate that update, Captain Obvious. Nathan and Harry jump across the rooftops and inch forward around a narrow, curved ledge. Harry: Don't look down... don't look down, don't look down... Harry jumps across to another rooftop. Harry: Come on. Nathan: Okay, I'm comin', I'm comin'. Nathan jumps across to the rooftop and grabs onto the guttering. The guttering breaks away. Harry grabs hold of Nathan's hand. Harry: ...Gotcha. Nathan looks down at a guard patrolling below. Nathan: (effort) Pull me up... pull me up... Harry: You put on weight, mate. The guard looks up at the roof. There is no one there. Nathan: Oh, shit, that was close. Harry: Whew, all right, no more donuts for you. Nathan and Harry drop down to another section of the rooftops. Harry: Okay, I can get this. Harry swings the rappel onto another wall. Harry: ...Once again, you're up. Nathan swings across the wall and grabs hold of a gate. Harry: I'm right behind ya. Nathan: As always. Nathan scales the wall and reaches the rooftops. A guard walks up to the edge of the rooftop. Harry: There's a guy above you, there's a guy above you. Nathan pulls the guard off the roof. Harry: There's a guy below you, there's a guy below you. Nathan and Harry climb onto the rooftops. Harry: Yeah, great view. I can see your house. Let's get moving. Nathan and Harry climb up onto the rooftops. Nathan sees the tower across the rooftops. Harry: Nearly there. Nathan: Yeah, but why are the lights still on? Harry: Chloe will take care of it, don't worry. Nathan and Harry cross the rooftops and make their way to the tower. They run forward and crouch behind some crates. Nathan: Ah, shit. We can't get any closer with the tower lit up like that. What the hell is she doin'? Harry: C'mon, Chloe... One by one, the lights around the tower start going out. Harry: That's my girl. Nathan and Harry climb up to a large window. Harry slowly pushes the window open. He steps forward and looks down into the exhibit hall. Harry: Okay... We're clear. Harry attaches a rope to the window and tosses the rope down into the exhibit hall. Harry: Ladies first. Nathan: (laughs) Cute. Here we go. Nathan climbs down the rope and runs up to the display case. Harry: Ah, there it is. Nathan: Yeah, and there's the acoustic alarm. Until we get this case unlocked, that thing's gonna go off if we so much as touch this glass. Harry holds up the lockpick. Harry: No worries, mate. Harry kneels down and turns off the acoustic alarm. The display case opens. Harry: Voilá. Nathan: All right... Nathan takes the oil lamp out of the display case. Harry: Now, we're sure it's the right one? Nathan: Well, I guess there's only one way to find out. Nathan kneels down. Nathan: Sorry, Marco. He smashes the lamp on the floor. There is a small piece of paper inside and several pieces of a blue substance. Nathan unfolds the piece of paper and turns it over. The paper is blank. Nathan: Crap. He shows the paper to Harry. Harry: Well, that's the understatement of the year. Nathan examines the blue substance from the oil lamp. Harry: This is it? It's bloody useless! Nathan picks up a piece of the substance and sniffs it. Nathan: '...the light of the Great Khan...' Wait a minute... Nathan gathers all the pieces together on the floor. Harry: What're you doing? Nathan: It's resin. It'll burn. Harry: And...? Nathan: Just gimme your lighter. Harry takes his lighter out of his pocket and gives it to Nathan. Harry: Is that really a good idea, in here? Nathan: C'mon... Nathan lights the resin. The room is illuminated a dark blue. Harry: Whoa... Harry looks at the piece of paper again. Nathan: Let me see that. Nathan takes the map. Nathan holds the paper over the flame. An outline of an island glows on the paper. Next to it is some more writing. Nathan: '...our ships were driven by a great flood tide into the wilds of Java...' Harry: Sounds like they were hit by a tsunami. Nathan: Yeah, somewhere off the west coast of Borneo. Harry: Oh, great, that narrows it down a bit. Nathan: Look - this mountain must've been the closest landmark where they went aground. We find that mountain, we find the ships. Harry: Yeah, good work, mate. Harry tries to take the map, but Nathan pulls away. Nathan: Wait, wait - there's more... '...as if the ocean itself sought to throw off the terrible cargo we carried from Sham-bha-la - the curse of the Cintamani.' Harry: That mean something to you? Nathan: Shambhala... Oh my God... Flynn - Harry: What? Nathan: Marco Polo found Shambhala. Harry shakes his head. Nathan: Shangri-La. Harry: You're joking. Harry takes the map and folds it up again. Nathan: If they were carrying the Cintamani Stone, it might still be there. Harry: This is all very fascinating... But we've really got to go. Harry hurries away. Nathan: Yeah - I'm right behind you. Nathan stamps out the burning resin. He walks back over to where the rope was. Harry is pulling the rope up. Nathan: What the hell are you doing? Harry: Sorry, mate. This is where we part ways. Nathan: Wait - Flynn, we had a plan. Harry: No, you had a plan. Turns out I've got one of my own. Nathan: C'mon, throw me the rope - don't be stupid - Harry: Oh yeah, right - you're the mastermind. Only you overlooked one little detail, didn't you, partner? Harry aims a gun at Nathan. Nathan slowly backs away. Nathan: So what're you gonna do, shoot me now? Harry: No. I just need you out of the way for a little while. Harry shoots the glass of a nearby display case. The lights in the exhibit hall come on. Nathan: Shit! Harry: You think I didn't know about the ships from the beginning? Any schoolboy could've figured that out. Nathan: Flynn, listen - Harry: Face it, genius. You've been played. Nathan starts to run. Harry shoots another display case. Harry: Ah - ah - not yet! Want to give the guards a decent head start. Nathan hears voices down the hall. Harry: Right, that's my cue. No hard feelings, yeah? Harry disappears out the window. Nathan looks around for a way out and starts running through the exhibit hall. Nathan: Damn it, Flynn. At the end of the exhibit hall, a shutter starts lowering, blocking Nathan's path. Nathan: Oh, no, no, no, no. Okay, now I'm screwed. Nathan runs down a spiralling staircase. Nathan: All right, all right, think Nate, think. Nathan climbs out of a window and runs over to a nearby manhole cover. Nathan: Yeah, there it is. Nathan kicks the manhole cover away and drops down into the sewers. Nathan: Yeah, this way, this way. Nathan runs through a tunnel into a room full of pipes. Nathan: All right, use your head, Nate, use your head. Agh, how the hell do I get outta here? He runs through another tunnel. Nathan: Here we go, there we go. Gotta get to that ladder. He reaches the ladder leading out of the sewers. Nathan: See ya suckers. Nathan pushes the manhole cover away and climbs out into the open. Four armed guards train their guns on him. Three Months Later Nathan is sitting in a jail cell. He is recreating the events of three months ago using his hands and silhouettes on the wall. Nathan: You overlooked one little detail, didn't you, partner? What?! Face it, genius. You've been played. Oh really...(gun-firing sound effect) (death sound) Sully walks up to the jail cell. Nathan: Hey - hey - hey - jackass, you're ruining the show here. Sully: Ah, what a shame. Nathan sits up and sees Sully standing outside the cell. Nathan: Sully! Sully: I really can't leave you alone for a minute. Nathan walks up to the bars. Nathan: Oh man, am I glad to see you. Sully: How you doin', kid? Nathan: I'm doin' just great. A guard walks up to the cell and unlocks the door. Sully: So, I had to grease a few palms. Sully walks into the cell. Sully: Did go through the rest of your money. And a good chunk of my own. But hey... He hugs Nathan. Sully: Jesus, you stink. Nathan: Yeah, not half as bad as that cigar. Sully: Yeah... Nathan: Hey, how'd you find me? Sully: Well, a friend of yours asked for my help... Chloe walks up to the cell. Chloe: Hello, Nate. Nathan: Oh, no. No. Sully: Now, wait a second - Nathan: Sully, kick her out and shut the door. We're safer in here. Sully: Just wait a goddamn minute. Hear her out. Chloe walks into the cell. Chloe: Thank you, Victor. Nathan: Hey, no offense, Sully - but you're not exactly the best judge of character. Especially when it comes to women. Sully: Fair enough. All the same. Chloe covers her nose. Chloe: Dear God... Nathan: Oh no, it's not that bad. Look, I have my own bucket. Chloe: (disgusted groan) Nathan: Last cell I was in, eight of us had to share. Chloe: Listen, Nate - Nathan sits back down on his bed. Nathan: Y'know something - I really appreciate you dropping by - but if you and Flynn hadn't screwed me over in the first place Chloe: Now, wait a minute - Nathan: - I wouldn't've been rotting in - Chloe: Listen - Nate - Nathan: - this shithole for the last three months - so excuse me if I'm not just, y'know, leaping into your arms. Chloe: I had nothing to do with it. Nathan: Right. Chloe: I told you, he's not going to listen to me. Sully: Screw this. Nate - They found the ships. Nathan: In Borneo? Sully: Yep. Chloe: Yes. Nathan: And the Cintamani Stone? Chloe: How do you know about that? Nathan: Do you really think Flynn could've figured that out on his own? Chloe: All right, good point. No, they haven't found it yet. Nathan: What do you mean, 'they'? Sully: Flynn and his client, Lazarevic. Chloe: Y'know, the 'nutcase'? They've been working together all along. Nathan: All right, then. If they haven't found the Stone, that means there's still time. You're gonna get us into that dig site. We're gonna snatch that treasure right out from under them. Chloe: They'll never see it coming. Nathan: Yeah, well, payback's a bitch. Nathan walks out of the cell. Chloe: (laughs) Chloe and Sully follow Nathan out of the cell. Sometime later, Chloe is sitting at a table. Nathan is standing next to her. He points to the Cintamani Stone in a book. Nathan: Look - they called it the 'wish-fulfilling jewel'. It's a sacred object. Sully walks into the room. Chloe: What, like a Buddhist 'holy grail'? Nathan: Exactly. He hands Chloe a drink. Chloe: Thanks. Sully sits down at the table. Nathan: Sully, listen to this - 'In the kingdom of Shambhala lies the most precious thing to be found in all the world - a perfect raw sapphire of the deepest blue, larger around than the reach of a man's arms.' Sully: Oh, that's gotta be worth millions. Nathan: Hundreds of millions. Nathan sits down at the table. Nathan: And you say there's more of this? Chloe: Loads more. Lazarevic paid top dollar for Marco Polo's journals. He's been after the Cintamani Stone for years. Sully: Well, if he's been counting on Flynn to find it for him, it's no wonder he hasn't had any luck. Nathan: If I can get a look at Lazarevic's files, I can find that Stone. Chloe: Hang on a minute, cowboy - that's easier said than done. The files are in his tent, and his tent is in the middle of the camp. It's like an armed compound, there are soldiers everywhere. Nathan: Well, that's why it has to be an inside job. From someone they know and trust. Chloe: Oh. Okay, I see where this is going. Nathan: I'll just need a diversion. You give me five minutes in that tent - that's all it'll take. Chloe: Really, five minutes? Well that's great, I won't even have to get my top off. Nathan: Chloe, I was thinking more like an explosion. Chloe: Or that - can be arranged. Nathan: Are you in? Sully: Oh hell yes, I was in before you were! BORNEO Nathan and Sully are making their way through a jungle. Nathan: Chloe, you reading us? Chloe: Loud and clear. Nathan: We're getting close. Nathan drops down onto a rock. |=============================| | 2.03. Chapter 03 - "Borneo" | |=============================| Chloe: Okay, I've planted charges all around the perimeter of the camp. You two just need to arm them. The first one should be right ahead of you. Nathan and Sully reach the first charge. Chloe: I also left the detonator for you. Sully picks up the detonator. Nathan: Ah-huh, there we are. Nathan arms the first charge. Nathan: All right. First one's set. Don't touch the button. Sully: This one? {laughs} Chloe: Once you've set all the charges, just hit the detonator and it's showtime. Sully: (laughs) They'll never know what hit 'em. Chloe: Just be careful, Lazarevic has got his men posted all around the perimeter. Nathan and Sully continue through the jungle. Sully: Keep an eye out for patrols. I'm sweatin' like a hooker in church. Nathan: You brought a hooker to church? Sully: Why not? Nathan and Sully reach two guards patrolling nearby. Sully: Hey careful. Up ahead. Chloe: Don't let 'em spot you. Sully: Let's take these guys out. Quietly. Nathan and Sully continue through the jungle, eliminating the patrols. In the next area, Nathan sees a wooden branch sticking out of a platform. Nathan: Looks like we can swing across there. Sully: (laughs) Yeah, maybe you can. Nathan: All right, hold on grandpa, I'll see if I can find another way up. Nathan locates a rock nearby and pushes it down into the swamp. Nathan: Heads up! Sully: Ah, perfect. Thanks kid! Sully climbs onto the rock and then onto the cliffs. Nathan: This way. Chloe: Nate, you should be approaching excavation site one by now. Nathan and Sully continue across a log bridge. Several guards are patrolling up ahead. Sully: Shit. We've been spotted. Chloe: Take them out fast. We can't let them send word back to camp. Nathan and Sully take out the guards. Chloe: You should be getting close to the first camp. I've planted four more charges in there, but you're going to have to clear the place out before you can arm them. Nathan and Sully reach the first excavation site. They hide behind a rock and slowly edge closer. Nathan: Here's the camp. You ready for this? Sully: Let's do it. Nathan and Sully eliminate the patrols in the first camp. Sully: All right, we gotta find those explosives and get 'em armed. Nathan finds the first charge and arms it. Sully: We still gotta arm three of the charges. Nathan finds the second charge and arms it. Sully: There should be only two left. Nathan finds the third charge and arms it. Sully: All right, one more and we're outta here. Nathan finds the final charge and arms it. Sully: Okay, that's all of 'em. Now let's go pay Mr. Lazarevic a visit. Nathan approaches a ladder at the back of the camp. Nathan: Can't reach this. Come on over here and I'll give you a boost. Nathan gives Sully a boost up onto the ladder. Sully: ...All right... Nathan: C'mon gorgeous, jump up. Sully grabs hold of the ladder. Nathan: Ha - you got a great ass, Sully. Sully: ...Thanks... Here ya go, kid. Sully drops the ladder down to Nathan. Nathan: All right. Nathan climbs up the ladder. They reach the back of the camp. Sully: Oooh, that must've been some tsunami to wash these ships so far inland. Looks deserted. Nathan and Sully approach a fallen log and see two patrolling guards examining a generator in the water below. Nathan: Get down. Look - they're not armed. Sully: Well, not that many - what are we waiting for? We can take these guys. Nathan: I don't know Sully, maybe - A third guard appears out of nowhere and kicks Sully in the face, knocking him to the ground. Nathan attacks the guard and the gun gets knocked out of his hand. Nathan grabs the guard and they both fall over the log into the water below. Nathan takes out the three guards with hand-to-hand combat. Sully jumps across to a lower platform. Nathan: I could've used some help down here. Sully: Hey, you were doing fine. Another guard attacks Sully from behind. Sully throws the guard down into the water. Sully: Here's another one for ya! Nathan: Sully! Nathan takes out the final guard. Sully: Enough of this frivolity kid. Sully kicks a rope down to Nathan. Sully: C'mon, we got work to do. Nathan: What does frivolity mean? Nathan climbs up the rope. Sully: What do you bet we follow the hose - we find the camp? Nathan: You always follow the hose. Just like in Montreal, huh? Sully: You're never gonna forget that, are ya? Nathan and Sully start following the hose through the jungle. |==============================| | 2.04. Chapter 04 - "The Dig" | |==============================| Nathan and Sully follow the hose to Lazarevic's camp. Nathan: I think I see the camp up ahead. They reach Lazarevic's camp and crouch behind a fallen log. Sully: Okay, you ready? Nathan: Wait, just - hold on a sec. Nathan looks through a pair of binoculars. He sees Chloe standing in Lazarevic's tent. He looks to the left and sees Lazarevic talking to Harry Flynn. Lazarevic: Three months, and you have found nothing. Harry: Well, now, wait - wait a minute, we've been - Soldier: Commander! Lazarevic turns around and walks over to two guards. Nathan: That must be Lazarevic. Soldier 1: This man was caught stealing artefacts from site number five. Lazarevic: (humourless laugh) You would betray me for this? Lazarevic throws the object into the water. Soldier 2: No - no, Zoran, I can explain - Lazarevic: No, no need - no need. Lazarevic stabs the soldier in the gut with a knife. Soldier 2: (dying efforts) Lazarevic pulls the knife out and lets the soldier fall back into the water. Lazarevic: I am surrounded by traitors and fools! Nathan and Sully continue to watch from a distance. Sully: Whaddya say we really ruin this guy's day? Nathan: Do it. Sully presses the button on the detonator. The charges placed around the camp explode. Lazarevic: Spread out! Search the perimeter! Go! Lazarevic runs off with Harry and Chloe. Sully: All right, it's all yours, kid! I'll cover you from here! Nathan hides behind a crate. Sully sneaks along the clifftop. Sully: (laughs) Some fool left a sniper rifle up here. Careful Nate, looks like they left a couple of sentries behind. Okay kid, it's showtime. Nathan sneaks around the camp and takes out the remaining guards. Nathan runs into Lazarevic's tent and looks around. Nathan: Man, this Lazarevic guy isn't screwing around, Sully. You should see all this stuff. Nathan examines Lazarevic's files on the table. Nathan: He's got files on every expedition to find Shambhala - all the way back to the 1600s. Sully: What about Marco Polo's journals? Nathan: (laughs) Here they are. Sully: Just hurry it up - you haven't got much time. Nathan examines pieces of paper on the desk. Nathan: Yeah, yeah, yeah. 'The worthy pilgrim is granted a golden passport to conquer obstacles on his journey to Shambhala'. Hunh. Sully: Is that supposed to mean something? Nathan: Beats me. Nathan picks up another piece of paper. Nathan: Hold on - here we go. 'It was with great sorrow that I left my fellow travelers to their fate - a fate decreed by the dreadful cargo we bore from Shambhala.' Sully: They must've thought that tsunami was some kind of divine retribution. Nathan: Wait a minute... Damn. Sully, I don't think the Cintamani Stone is here. Sully: What? Nathan: Listen to this: 'I would have sooner endured the wrath of Kublai Khan himself than remove the Cintamani Stone from that sacred shrine.' Marco Polo never had the Stone. Sully: Then what 'dreadful cargo' is he talking about? Nathan: I don't know... Sully: Well, if the Stone's not here, what the hell is Lazarevic looking for? Nathan looks up and sees a map pinned to the wall. Nathan: Shambhala. Sully: Here in Borneo? He's a little wide of the mark, don'tcha think? Nathan: He must be trying to pick up Marco Polo's trail... back to Shambhala. Sully: Why? Nathan: Because the Stone is still there. Chloe, can you talk? Chloe: Hold on. Yeah. I'm here. Nathan: In all this digging they've done, have they found any bodies, any remains at all? Chloe: No, now that you mention it - nothing. Why? Nathan: (laughs) Over six hundred people were shipwrecked here, yet there's no bodies? Don't you find that a little odd? Chloe: So where did they all go? Nathan: Where would you go, if a tsunami hit? Chloe: ...to higher ground. Nathan: Bingo. We head to that mountain, what do you bet we find Marco's pals? Chloe, can you meet up with us? Chloe: Already on my way. Nathan: Great. Sully: Uh-oh. Nate, you gotta get outta there. Nathan: You're gonna have to give me a minute, Sully. Sully: You don't have a minute! Nathan turns around and looks outside. He hears voices as Lazarevic returns to the camp. Nathan: Oh, crap! Nathan crouches down behind a window. Sully: Stay down, kid! I got you covered! Nathan sees a box of grenades on the table next to him. Nathan: Grenades, well that's convenient. Nathan and Sully eliminate the guards that storm the camp. Two more guards open fire from a tower high above ground. Sully: Shit! Help me kid! You gotta take out the tower! Nathan: I got ya, Sully. Nathan destroys the tower. Sully: HA! Nice one! Nathan rejoins Sully and they continue through the jungle. Nathan: Should be this way. Nathan and Sully climb through the jungle until they reach some stone steps. Nathan: Whoa, Sully, look at these stones. Sully: Ahh, now we're gettin' somewhere. At the top of the steps, they find a large hollowed-out tree. Nathan: (laughs) Would you look at that. Sully: Oh, yeah. Chloe runs up behind them. Chloe: Hey - Hello - what do we have here. Nathan: With any luck, the last resting place of Marco Polo's crew. Sully: Shall we check it out? Nathan enters the hollow tree. Nathan: Oh, this place must be thousands of years old. Sully: At least. Nathan drops down through a hole in the floor. Nathan: Down this way. In the room below, the skeletal remains of Marco Polo's crew are scattered all over the floor. Nathan: Whoa... looks like we hit the jackpot. Chloe: Eugh. There must be hundreds of bodies down here. Nathan: Look at their teeth - they're all black. Sully: For God's sake, they're all that way... Nathan: They must've taken refuge here during the tsunami. There's gotta be some sort of clue around here. Nathan approaches a room nearby. Bats fly out. Nathan enters the room. The room is filled with barrels. Nathan: Hey, I think I found something. In here. Sully: What? Chloe: They must've carried their cargo all the way up here after they were shipwrecked. Nathan walks up to the one of the barrels and finds a piece of blue resin. He picks it up and sniffs it. Nathan: More resin. I've seen this before. Nathan looks around and picks up a medieval torch leaning against a barrel next to him. He puts the resin on the torch. Nathan: Sully, give me a light. Sully takes a lighter out of his pocket and lights the resin. The room is illuminated a dark blue again. Sully: Oooooh... Nathan sees bloodstains on the floor. Nathan: Wait a minute... this is blood. Chloe: It's everywhere. Sully: Looks like a real massacre. Nathan: All right, let's follow the bloodstains. We'll see if they lead somewhere. Nathan follows the bloodstains around the ruins and into the room opposite. The bloodstains suddenly end in front of a pile of rocks blocking the path. Sully: Seems to end at this wall. Nathan: Yeah, that's odd. Nathan starts pushing the pile of rocks. Nathan: This moves a little. Sully, help me out. Sully: Oh, here we go again with the pushing... Nathan and Sully groan as they push the rocks through the hole in the wall. The rocks crumble, revealing another path. Sully: I think I hurt myself. Nathan, Sully and Chloe continue following the hidden path. Nathan: The trail leads in here. Sully: Oh, man, more bodies. Chloe: Oh my God... Nathan: Y'know, maybe I'm crazy, but it looks like they all killed each other. Sully: C'mon, Nate, you're just getting spooked. Nathan, Sully and Chloe enter a room at the end of the hall. At the back of the room, they walk up to a dead body. Nathan: Whoa... Look at this. Nathan throws the torch aside and the flame disappears. Nathan walks up to a skeleton on the steps in front of him. Nathan: What do we have here? Nathan sees something in the arms of the skeleton. Chloe: Careful... Nathan starts to pull the object away from the skeleton. Nathan: (scream) Chloe and Sully jump back in surprise. Chloe: (scream) Sully: (scream) Christ Almighty... Sully sits down on the steps beside the skeleton. Nathan: (laughs) Just kidding. Sully: Nate - you're gonna give me a goddamn heart attack. Nathan opens the box and finds a scroll inside. Nathan throws the back away and unscrolls the paper. A dagger rolls out. Nathan: Whoa. Sully: Man, is that an ugly freakin' thing. Chloe: What is it - some kind of weapon? Nathan: No - No it's a Phurba. It's a ritual object, from Tibet. It's used to destroy obstacles. Sully: Huh? Nathan: You know - spiritual ones. Chloe: Oh. Chloe rolls her eyes and shakes her head. Nathan: Wait a minute... Could this be what Marco Polo was talking about? Sully: Kid, I don't even know what the hell you're talking about. Nathan: In his journal - he wrote that the worthy seeker would be given 'a golden passport to conquer obstacles on the journey to Shambhala'. Chloe: So, what - this is it? Sully: Look, that's all really interesting - but where the hell is it a passport to? Chloe unfolds the paper the dagger was in and holds it up. Chloe: Well, maybe this map would help. Nathan: Lemme see that. Nathan takes the map and hands the Phurba to Chloe. Nathan: 'Between Greater India and the province of Tibet lies a field of exquisitely finished temples, hundreds of gilded spires stretching as far as the eye can see.' Sully: Hold on - I know this place. It's in Nepal. Nathan: Yeah, except it's not just a field of temples anymore... it's a city.
Categories: 1

0 Replies to “Uncharted 2 Chapter Titles In Essays”

Leave a comment

L'indirizzo email non verrà pubblicato. I campi obbligatori sono contrassegnati *