The series was already analyzed academically in regard to its violence, narrative, and gender representations. Throughout the years, the developers created numerous memorable sequences, such as the bar fight in Uncharted 4, the plane catastrophe in Uncharted 3, or the train derailment in Uncharted 2. In a sense, they were the video game equivalent of the summer blockbuster genre. This dissonance created inevitable frictions between his likable persona presented in the cutscenes and in the game itself, as in the course of gameplay he shot multiple NPCs with no remorse.Īll the games in the series followed a three-act structure similar to that of classic Hollywood movies, and at times, they were like interactive movies themselves. The character was portrayed as an everyman: he looked rather unimposing, yet was extremely smart, strong, and had an excellent aim. In no time, however, Uncharted’s Nathan Drake was able to create identity dissimilar to that of Lara Croft. At first, the game was dubbed “Dude Raider” – and indeed, it made its main character go to exotic locations, look for mythical treasures, and embark on other adventures reminiscent of Tomb Raider. Uncharted was a groundbreaking series, which combined great characters, spectacular visuals, engaging puzzles, and captivating storylines to create a movie-like experience unlike that of any video game before it. As the production of the movie adaptation of the game has been once again put on hold, and it seems that Naughty Dog will not develop new entries in the series in the foreseeable future, a book of essays seems rather timely. The essays should refer to the games that are considered the canon of the series: Uncharted: Drake’s Fortune, Uncharted 2: Among Thieves, Uncharted 3: Drake’s Deception, Uncharted 4: A Thief’s End, and Uncharted: The Lost Legacy. Abstracts are sought for a peer-reviewed collection of philosophical essays related to the Naughty Dog action-adventure video game series Uncharted (2007-2017).
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