The Last Of Us 2 Video Game – Gaming: ‘The Last of Us Part 2’ series is occasionally on history in video games returns with a look at The Last of Us Part II, which causes a change of perspective on the players that forces them to face their role in the game.
For years, some of the best, funniest, most moving, or revealing stories we’ve told ourselves have come not from books, movies, or TV, but from video games. So we run the occasional series, Reading the Game
The Last Of Us 2 Video Game
, in which we consider some of these games from a format point of view. Warning: If
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In the beginning, Ellie is a little girl who is trying to survive the end of the world. It’s a miracle – a child is somehow immune to the mushroom zombie plague that has destroyed the world. Somewhere far away, there is a doctor who believes he can take what’s inside Ellie and cure everyone. To save everyone.
All you have to do is get there. And Joel—who’s already lost his own daughter, who’s done everything he’s ever done to survive, and wants nothing to do with Ellie—is the man to take her.
Risk is codified, wake, praise, anchors the equation that drives the decision tree, is calculated as part of the experience. The maximum risk is how the encounters are built (is it worth fighting the overleveled Boss for maximum loot loss?), and control the risk defined as they are brought out (heal now? hide now? run away?). Risk is something that video games understand because it is something that
Understand. We know we are entering your AAA 1080p crime simulator. We accept that (imaginary) risk is part of the business. That’s why I came.
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He stopped for months. Almost every minute is dangerous. Ellie and Joel are very close. He saw her as a father, and he saw her as a lost daughter. They risk their lives a hundred times and, against all odds, make it to the hospital, to the doctor.
Then they told Joel what was going to happen: that in order to heal and save the world, Ellie had to die.
But wait, is it really dangerous? Because if we know it’s coming – if we understand that zombies are hungry for brains all the time and Nazis are thirsty for blood all the time and all the monsters are ready to kill us all the time – then a risk seems less likely. (it is possible to get something or see something or experience something in trade for an increased chance of death) and more like instability. A box is checked on a form. And if it is embedded risk/reward that is at the core of the game – if, in fact, it can be argued that there is no game at all.
Joel refused. He hadn’t spent all this time trying to keep Ellie alive only to find her dead now. And when saying no isn’t enough, Joel kills everyone in the room – including the doctor who knows how to make the cure. He took Ellie and ran. He never told her what he did. He hoped he wouldn’t see it.
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Where risk and simple reward are essential to the operation of any game, historical risk is negligible, because informational risk is really dangerous. It has the power to alienate players, damage franchises and promotion hopes.
Historical risk is the opposite of game risk. Where simple risk and reward are essential to the performance of any game, historical risk is negligible because informational risk is
Dangerous It has the power to alienate players, damage franchises and promotion hopes; to stir up hurt feelings and push against the theories of what games are.
The reason games follow a three-act structure, character redemption arcs, love a Big Bad, Twist Show, and boss fights is because these things have been proven to work in the past. They are reliable, robust and easy to use to hang any story you want to tell. And when there are years of work, thousands of employees, and hundreds of millions of dollars on the line, information risk can seem like something to project.
Sony Ps4 The Last Of Us Part Ii Special Edition Video Game 3004826
Now, it’s years later. There is no cure yet. Joel and Ellie have found a city to live in, a community to be a part of. He taught her to play the guitar. He finds friends his own age, a good job, a girl in the city he likes. It adapts. The world is moving forward.
It changed the scenes and forced the players to play as Abby, a character they had learned to hate. Sony hides the legend
Real information risk (especially in a big, high-profile theater game) is rare. To do something that changes the player’s experience with your game requires guts and a commitment to storytelling that puts knowing the story first and everything else second. And that’s it
He said when he chose to split his statement in half: This story is more important than gameplay, more than comfort or consistency, more than the player’s identification with this character or that. It is emphasized that there is something to say that can
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Said, do something really risky – first by giving us a look at Ellie’s story, and later by giving us a new perspective, a whole new story. He gave us Abby’s story.
There is one moment in this game that you will never forget. It’s early. It is shocking and terrifying in its violence and the way it changes everything. It is a single choice that changes everything forever and irrevocably. A choice that we can understand, maybe seem, absolutely hate.
Us) from the beginning. Ellie and Joel’s relationship is long, deep, and strong—troubled at times, especially in the early hours
In short, we play as Joel. We were there when he went out on patrol with his brother Tommy and we were there when everything went wrong. Along the way, Joel does a good thing by saving a woman who was taken from her friends who are threatened by zombies. Joel doesn’t know him. But we did.
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We are Ellie as she goes to Seattle with her friend Dina, in search of Abby and Abby’s friends, with the goal of killing every single one of them. And we’re Ellie as she does just that, enjoying her revenge even as it gets ugly. Because these are the people who killed Joel, and for a while, that’s all we know. That’s all that matters until mid-game when suddenly
Abby forces us to understand who she is and why she does what she does.
Because Abby spent many years hunting Joel. He made terrible sacrifices and did some bad things to get to Joel. Because of Abby? She is the young daughter of a doctor who is supposed to cure the zombie epidemic. He was there (off screen, out of sight) when Joel killed his father.
“TLOU2” could be just a revenge story, but it’s not. Instead, it turns into a parable about the futility of revenge and how violence only begets more violence.
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It could be just a revenge story, but it’s not. Instead, it turns into a parable about the futility of revenge and how violence only begets more violence. It goes for the cognitive dissonance of a world where everyone should be both with bloody hands.
Noble that does not make someone noble, no one is righteous, no one is innocent. It forces us to make choices we tell ourselves we won’t make by making them a choice of characters we really like. It makes sense
No matter how much I yell at the screen, the story unfolds as it should. The only way they can. Walking in Abby’s shoes and experiencing the story through her eyes, we see that her revenge is just as necessary, just as important, and not as important as Ellies. In Abby’s world, Joel is the monster. The man who killed his father. And no better or less than Ellie. Nothing more or less bad. Thus, we become a process of revenge, an instrument of violence, stuck in a two-part story that does not allow another. It uses our expectations against us as it continues in cycles of violence and sacrifice. He understands how dangerous it is to be and not go away.
Risk information should be dangerous. That is the word. It’s easy to tell a story without real stakes – where no one changes and everyone ends up feeling good about their choices. But this, of course, leads to boring games.
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Risk information should be dangerous. That is the idea. It’s easy to tell a story without real stakes – where no one changes and everyone ends up feeling good about their choices. But this, of course, leads to boring games. Beautifully silly blockbusters that make so well and feel so familiar that we even forget about them
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