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#Henry’s shit at puzzle and rhythm games though
gundamcalibarney · 3 years
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henry’s epic gamer moment; manages to get the most kills in a PvP shooter game
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goofygomez · 4 years
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An analysis of The Last of Us Part II and its themes
I’ve seen a lot of people share their experience with playing The Last of Us Part II, and it’s safe to say most of it has been largely negative. It’s no secret this might be one of the most divisive games of all time, and it will probably stay that way for a long time after. I personally adored this game. I believe this is the masterpiece of masterpieces, and it’s the only game to ever top the emotions I felt when playing the first game, although I will say in terms of raw story (with nothing else like gameplay to support it) the first game is still a bit higher on the list for me.
But for all intents and purposes, when considering all aspects of this game, I think this is the single greatest accomplishment in game design and storytelling I’ve ever seen in a video game. That being said, I would like to try and respond to some of the criticisms this game has gotten, and furthermore, I’d like to try and analyze some of the themes I noticed when playing the game. Keep in mind this is MY opinion, and should not be taken as fact. This is just my experience, and I’ll respect yours one way or the other.
Take this as a MAJOR WARNING that there will be spoilers for both games in this post.
With that, let’s start with the common criticisms:
1.       “They killed Joel for no damn reason. He deserved better.” This is an easy one to tackle. For one, Joel most definitely did not deserve better. Even though we might love him for being the first game’s MC and have grown attached to him, there’s no way we can or should look past the fact that he, Joel, is a bad man. He even says himself in the first game that he and Tommy did some questionable things to survive in the 20 years between the outbreak and even during the events of TLOU. While he may be perceived as the hero of the franchise, when you look at his rap sheet, you start to notice he’s not so great after all. Take the ending of TLOU as the most glaring example, where Joel has been told Ellie must die in order for the Fireflies to develop a vaccine. His first and only reaction is to kill every single Firefly he sees and murder the surgeon who would have killed his “baby girl”. Would I have done any different in his shoes? Probably not, but that’s the beauty of the first game. Its ending and the ambiguity of Joel’s morality given his actions is one of the driving forces that make the first game so spectacular and why it’s still being discussed 7 years later. Now let’s talk about the second point to this criticism: “He died for no reason”. If you recall, the people who killed him were former Fireflies, one of which (Abby) was the daughter of the surgeon whom Joel unceremoniously killed. In their eyes, they had every right to go after Joel. Like Anthony Caliber, one of the best TLOU speedrunners, said in one of his recent livestreams, “Joel signed his own death sentence when he killed Marlene and the surgeon back at the hospital in TLOU1”. While it may seem overly zealous to us as players who have grown to love Joel, if the roles had been reversed would you not do the same? Would you not want revenge for the killing of your father? And isn’t that exactly what Ellie is doing in this game, which most players justify in this hatred of Abby?
2.       “Joel was out of character in giving out his name and trusting strangers. They dumbed him down for the sake of plot.” As I recall, Joel literally gave Henry and Sam his name and followed them out to their hideout barely 30 seconds after meeting them and beating the shit out of Henry. Joel may be an untrusting person at heart but he always does so with reason. The most common reason people give of this is “He didn’t trust the guy asking for help in Pittsburg and ran him over so why trust Abby and her gang”. First of all, that was literally the one situation Joel had already been on the other side of, and knew perfectly well it was rehearsed. On the flipside, he and Tommy had just saved Abby and literally mention there’s no other way to go other than with her because there’s a huge blizzard and a herd was after them. And especially now, after Joel has been living in Jackson for 4 years now and has been living comfortably in a community very obviously open to new people. Abby’s group gave them no reason to distrust them, and giving out his name, in any other situation, would have made no difference in the outcome. It was just unfortunate they happened to be after him.
3.       “I hate playing as Abby, why are they trying to make me sympathize with her?” That’s the whole point, they’re not. The entire game, you keep rooting for Ellie to find and kill this woman who wronged you, and when you’re forced to play as her, you’re understandably angry. You’re upset, and you feel you have to slog through this seemingly endless section of the game. But as you keep playing, much like I did, you start seeing the other side of the story. Abby is not the villain the game paints her out to be when she killed Joel. She’s another human being with human emotions and a very real reason to hate Joel and to want him dead. As I said before, Abby is doing exactly what Ellie eventually does after Abby kills Joel.
4.       “Why would Ellie go through all that effort to not kill Abby in the end?” I will touch on this in the analysis of the themes, but simply put, it was about breaking cycles.
Now I’d like to start defending how and why I believe this is a masterpiece by first taking a look at one of the admittedly less touched upon parts: gameplay. This aspect usually takes a step back when it comes to narrative-based games, and it is obviously not the most resounding part of this game, but it is clearly not taking a back seat either. The flow of both combat and mellower scenarios in this particular game is astounding. When battling opponents, the AI feels like one of the most intelligent I’ve ever seen in a video game. The way the enemies communicate between each other, telling the others when the player is out of ammo or when they’re flanking to create much more nuanced fight sequences, coupled with the expanded worlds Naughty Dog has come up with to create a seamless experience when fighting hordes of enemies without it feeling stale or repetitive, is one of the most immersive gaming experiences I’ve ever had. Each encounter feels unique and challenging in some ways you may not have felt before in the game, and by the end you’re so immersed in that feeling that going through the Santa Barbara group (to me, at least) was almost automatic and I could see so many different options for me to approach each situation as it came my way.
Likewise, Naughty Dog have managed to turn the puzzle solving from the first game, where you simply had to find a dumpster to step on or a door to open with a shiv, and incorporate the environment and world into it, finding clever ways to get over obstacles without simply having a step-up ladder be the end of it. The mechanics that went into the rope puzzles, breaking windows to get to previously unexplored territory (which is admittedly not new in gaming, but still a cool concept to add to the franchise) paired together with so many more new little features to bring the world they created to life, and bring you into it as well.
As always, and as was the case with the first one, you can’t talk about The Last of Us without talking about the soundtrack. The haunting score created by the masterful mind of Gustavo Santaolalla, a fellow Argentinean like me, brought to life some of the most heart-wrenching moments and the most beautiful ones as well, in a way that can only be achieved with amazing sound design and music. The main theme song, which is a sort of homage to the one from the first, takes a much darker approach, choosing instead to focus on the bass and that resounding low voice in the background, setting the tone for the rest of the game: a much darker, grittier, and grounded experience that will pull no punches. Santaolalla managed to create a score that mimics the first one in melody and rhythm, while succeeding in mirroring it to create a more dissonant accompaniment to the gruesome story you’re brutally killing your way through.
Another aspect of the game that deserves all the praise it gets, and one that people seem to at least be in consensus about, is the graphics and animation design. I can safely say this is hands down the most beautiful, gorgeous, astounding, breathtaking game I’ve ever laid my eyes upon, and that might not be enough adjectives to fully encapsulate how I feel about the graphics in this game. One can argue all day about the morality of the characters in the game or the balance between right and wrong that Naughty Dog so masterfully plays with in the story, but one thing is for sure: The graphics design team deserves so much credit for actually bringing the story and the characters we know and love to such vivid life. You can see it in the little things, like the veins in Joel’s arm as he plays “Future Days” by Pearl Jam and the facial expressions Ellie can make if you stand in front of a mirror during the museum flashback; you can also see it in the larger things, like the jaw-dropping backdrops that range from a beautiful mountain range in the snow to the downtown Seattle skyline. No moment will be wasted by stopping your pace to just admire the absolutely gorgeous view you’re presented with every time you enter a new game world. The attention to detail in animation is also not lacking at all, with so many little actions being given special treatment as we see Ellie patch herself up and still having the actual bandage over her arm instead of disappearing like any other game, or the way Ellie’s fingers perfectly (and correctly) play chords without resorting to generic hand gestures. You can see the love and care the developers have for this game in every tiny crack in the game that simply takes your breath away and that sometimes you won’t even see from the vastness of the world around you.
And finally, the story. It is definitely a divisive story, and Neil Druckmann did warn us it would be. There were times, namely the moment they switched the POV to show me the first 3 days from Abby’s perspective, when I was genuinely wondering what the hell they were thinking. My faith in Naughty Dog never wavered, though. I kept playing because I thought, “There must be some reasoning for this.” And to my greatest relief, it finally clicked for me a few hours into Abby’s section. Namely, the moment where she meets Lev and Yara, two Seraphites that defected after the former shaved his head. At first, it seemed weird that they would be cast out for such a stupid reason, but then you start to get to know them, and you understand the real reason they had to leave their religious cult. As I said before and will say again, this is a game about perspective. Up until that point, I just wanted Abby dead, albeit with some guilt since learning that it was her father Joel killed in that operating room. But seeing Abby’s willingness to help total strangers, much like Joel did at the start of the game, was what sold me on this game’s concept. The purpose of this story is to make you feel the regret and the weight of the actions you impart on the world, as you can see the carnage Ellie left in her wake during your time as Abby, seeing Abby’s friends butchered by either Ellie or Tommy, realizing they’re no different than the villains we have such tunnel vision about. The ending is something I’ll get to in the themes, but I just have to say I love the way it’s such a parallel to the first game’s ending, up to the point of divisiveness in the people who actually played and finished the game (which at the time of writing this is less than 4% of players).
Now onto the themes. One of the things people always praise about the first game, and rightfully so, is its themes and how well it portrays them through certain characters to create a cohesive and coherent story that pulls at your heartstrings and makes you root for the “heroes” of the game. This time it’s not much different, with the minor exception that this time, there are no heroes. Just like Neil Druckmann said many times during the development of Part II, “While the first game was about love, this game is about hate”, which is one of the main themes.
1.       Hatred: I can safely say there have been very few times of my gaming life where I’ve been so viscerally angry (in a “good” way) while playing a video game as I have as I tore down through countless enemies that got in the way of me and my target. This game will let out the worst parts of you in ways you can’t even imagine, and will make you take a look at the way we glorify violence in video games without the usual preachy tone of “video games cause violence”. Like I said before, this is a game that mirrors the first one while paying homage to its themes. To take a page out of Abby’s book, it’s like a coin. There are always two sides to it. On the one hand, the first game’s main theme was love, and how loss and grief can be overcome with it with the proper care and time. The Last of Us Part II shows us the uglier side of human nature, which is anger, despair and a natural desire for revenge (another theme). Both games show us the natural progression of a grieving person, but both of them take wildly different approaches. Granted, we don’t know how brutal and vicious Joel was right after losing Sarah, but it’s safe to assume he was nothing short of a monster, which eventually didn’t really help in dealing with that loss until he found love and hope in a little girl whose safety was now his utmost responsibility. In Ellie’s case, she’s still in that first stage. Ellie as a character has always been reckless and foolhardy, and her actions in this game are a testament of how well Neil Druckmann and Halley Gross know their characters. The entire game, right up until the final moments where she’s about to finish Abby off, her actions are fueled by a rage and desire to exert justice onto those who’ve wronged her. In other words, she’s looking for revenge.
2.       Revenge: Both main characters have at least one thing in common, and it is their desire to avenge their father/father figure. I truly believe that Joel’s death was not only justified (from a storytelling perspective) but also crucial to the development of a sequel that both enhanced the world of The Last of Us while building onto it with new ideals and perspectives. The idea this time is definitely not one we haven’t seen before in so many other mediums: “Revenge is bad and is never worth it” Seems trivial to even suggest it when we all know the outcome, but The Last of Us Part II manages to not only build upon the idea that revenge is a double-edged sword, but it also manages to balance the perspectives within that cycle to attempt to explore the psyche of the characters we’ve put into the boxes of “hero” and “villain”. And subsequently, they manage to break that characterization by showing us both sides of the aforementioned coin to see, in no unclear terms, that the consequences of our actions when dealing with vengeance always circle back to expose the nastiest side of our nature. It stands to reason that we, as the player, would at first be on board with Ellie “finding and killing every last one of them”, and demonizing Abby for not only killing but torturing possibly one of the most beloved characters in gaming history. We want her dead. We want her to suffer for the crime she’s committed. Yet, in our quest for vengeance and justice, would we not be succumbing to the same cycle that brought Abby to killing Joel in the first place? Did she not think, from her perspective, that she was entirely justified in killing the man who had not only destroyed the one chance humanity had against the Cordyceps, but also murdered her father in cold blood? Are we not the same as Abby for wanting her dead after she kills one of our own? When does it end? And that’s the real question. This whole thing, the lust for revenge that can only be quenched with cold-blooded murder, is just another facet to our complex and grey morality as human beings. It’s natural for us to feel angry and upset at this, and I believe all the hatred people give this game that stems from it forcing you to play as Abby is the exact nature the game is trying to bring out of us and show to us in a mirror.
3.       Cycles: While this may not be such an obvious catch as the first two, it’s still very much ingrained in the inner workings of this game’s narrative and how both characters view the world according to their reality and perspective. The concept of revenge, as stated above, is a repetitive one. One that causes cycles and events to repeat themselves if left unchecked, and The Last of Us Part II plays with these masterfully. Starting the game with a heartbreaking moment and setting the dark tone for the rest of the game is what starts the first part of this cycle, which is Ellie wanting to avenge Joel’s death, much like Abby avenged her father’s death after 4 years of despair, planning, and training. Ellie’s desire to kill Abby is what leads her down the path we would characterize, were she some random character and not the main one of the franchise, as the villain’s route, going down a dark path that prompts her to mindlessly and mercilessly slaughtering countless people whose names you hear from their friends’ mouths when you kill them, to the point where you end up getting to Abby’s closest friends and companions and murdering them too, not unlike Abby murdered Joel. It is a sobering feeling to realize the character you most love and root for is, in the eyes of the other main character, as much of a villain (if not more) as we as players make Abby out to be. It is at the end of the game, which a lot of players had qualms about, where Ellie is beating Abby within an inch of her life that she realizes this is not worth it. Killing Abby will not bring Joel back, and will certainly not bring her any satisfaction, as showcased by how traumatized Ellie was after the killings of Abby’s other friends and the fact that she still kept seeing Joel’s lifeless body as she attempted to drown Abby on that coast. Then, as we are mercilessly choking the life out of her, which is yet another example of the visceral anger the game elicits from the player, we see a different memory of Joel. One of hopefulness, where Joel is playing the guitar and smiling. It is at that moment that Ellie realizes the only thing she can do now is to move on with her life and accept Joel’s death as something that happened. To add onto this realization, it’s probably good to mention that Ellie must have seen some of herself in Lev in that killing Abby would have left him (if not dead) in a state much like the one she, Ellie, was at the start of the game. Coming back to the theme of cycles, if Ellie killed Abby, what’s to stop Lev from coming after Ellie the same way she came after Abby, and so on and so forth. Both these things coupled help Ellie finally break the cycle and go back to the farm, where she’s greeted with the consequences of her actions in a more emotional and real way than the PTSD: Dina being gone and Ellie leaving her guitar behind, symbolizing her letting go of Joel’s memory and accepting her reality.
The game scares us; it scares me. It is a harrowing experience that will only get better with time and will, in my humble opinion, go down as one of the greatest games of all time for years to come. No matter the context, and no matter the medium, I wish it were easy to find such real, emotional, and powerful pieces of art as this one more often. But alas, we will have to wait and see. As someone whose name I can’t seem to remember said: “This will mark the gaming industry and divide it between ‘Before TLOU2 and After TLOU2”
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