My one and only posted about his time playing Ratchet and Clank: All 4 One (are there supposed to be spaces in the subtitled phrase?), which I think I digested via airwaves. I played a little, but I was summarily poor at it–platformers either like me or sneer at me–and ended up just being on hand to help swear at the screen whenever necessary.
I’m very good at that. Writing makes me good at making up euphemisms and vulgarities that aren’t.
Anyway, most of what I really picked up beyond mechanics that were missing or didn’t work, were in the cutscenes. I really liked the cartoony descriptions of the weapons. Although I don’t think the story was any great shakes, the subtext was hilarious.
We’ve all seen that movie or read that book/comic/fanfic. The one where the villain is brought in as part of the crew and fits in a little too well. Sparks may fly, or they may be merely joked about.
Or you get both and it’s so clear and present that the subtext becomes context, and you get a romantic subplot that you did not sign up for. I like those kinds of things.
Qwark and Nefarious had scenes together that told a sort of James Bond meets Bogart kind of largely imaginary plotline. Attempted murder turned into life-saving. The once-villain bitch-slapping the current villain away from A Certain Someone. Betrayal followed by lip-trembling contemplation of a group photo.
It really does stop being subtext at some point. Once it becomes your story’s context, it’s a subplot. Which I find even funnier than the implied joking.
As creepy as it is that some people don’t just say “Character x Otherone”, I find that just about all the fun is in just saying it. But there could be a little more to love here.
The point is that as often as I have seen this, it’s never been quite this funny before. I think it was the conversation about man-hugging.