![]() One thing for sure that irked me about the story, was that it did seem to go on for a little too long. ![]() Even if the motivations for her journey are a bit cliché. But when I hit the point in the game where I started learning about her, I came to like her more and more. At first, I thought Abby was a terrible character. You have Ellie’s journey, then you have Abby’s journey. I was always anxious as to what happened next, worried for the characters that I’d grown to love. But the story didn’t take long to hook me, and it kept me on the edge of my seat for the entire journey. I’ll be honest, I’m very divided on the first game. Eventually some crazy events come that cause their perfect little life to get overturned, and now Ellie is on a mission of her own. They’ve now settled into their life, in the little settlement known as Jackson, where they help grow food, or clear out the infected monsters that plague the world. It’s been 4 years since the events that took Joel and Ellie all the way across the USA. It was published by Sony Interactive Entertainment for PS4 in June 2020. These games have heart we will see if they can achieve more.The Last Of Us Part 2 is an action adventure game developed by Naughty Dog. What separates blockbuster games from profundity is, as with films, the financial logic of their blockbuster status – their need to generate return on investment and the stranglehold this need places on ambitious writing. Because the distinction between film and games has, in many senses, grown academic. It will be interesting to see if the next generation of cinematic games look beyond Hollywood for their inspiration – if they grow adverse to Hollywood’s mass-market formulae of setting, theme and character. It seems appropriate that The Last of Us 2 comes at the end of a console cycle. ![]() God of War and Red Dead Redemption 2 are just some that have done it more recently. Naughty Dog did it back in 2013, and the game was a landmark. More accurately, they have proven that they can ape the narratives and idioms of Hollywood. More than anything though, The Last of Us 2, while still packed with exhilarating set pieces, is less impressive than its predecessor because games have now proven they can deliver cinematic narratives. Drawing attention to this fact in the killing game you made isn’t profound or interesting, and doesn’t let you off the hook, either you still made a game that makes sport of death. ![]() While there is nothing wrong with popular art delivering moral instruction, there is when this moral is offensively simple – namely that amputating, curb stomping, and golf clubbing your way to bloody revenge is bad, and what’s more, might make the situation worse.ĭespite the rank reaction of some of the gaming community’s cadre of incels and bigots to the welcome inclusion of diverse characters, we must conclude/hope that of the likely millions who will play this game, most know that killing is wrong. After one character caves another’s head in with a golf club, the player must set out in pursuit of violent revenge. The story orbits a decision Joel made at the end of the first game – cinematically, the game returns to this moment like a recurring nightmare. Broody Joel croons hideous love songs on a beat-up gee-tar. Ellie is grown up now – in an early scene, she smokes a big spliff then has casual sex. ![]() Ellie and Joel live in a bustling encampment that looks like a Wild West film set. The Last of Us 2 picks up four years after the last game. The Last of Us was the culmination of years of technological advances that now allow games to render cinematic production values and, when the writing was there, deliver a compelling Hollywood story. The scenes and set pieces were miraculous technical achievements – whichever way a player turned they looked cinematically composed. Their feelings were intelligible in their expressions their eyes simmered with life. Character’s faces, for instance, vaulted the uncanny valley. But where The Last of Us stood out as a landmark was not the narrative itself, but its delivery. Though it’s a demonstration of the narrative desert of the medium that the game’s story is held up as a gold standard, it was competently written. (The game was originally called “ Mankind”, and only women got to be zombies – female staffers pointed out that “the way it’s coming off is you’re having a bunch of women turn into monsters, and you’re shooting them in the face.”) Creator Neil Druckman, who told WIRED that he reads Robert McKee’s screenwriters’ bible, Story, every year, came to the idea after he also had a daughter. The much-vaunted central relationship between Joel and Ellie relies on romantic heroism at its most generic – a damaged man is taught to love again by the stand-in for his (spoiler) dead daughter. ![]()
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