The Last of Us 2 - title

Perspective shifts were used effectively in The Last of Us.

I'm a fairly outspoken critic of the first Last of Us. I felt that the gameplay was fairly shallow (though very well-produced), and focused too strongly on the zombie apocalypse plot at the expense of the surrogate father-daughter story that was being told. The best and most memorable moments were the opening scene in which you play as the scared 10-year-old girl as the zombie apocalypse breaks out, and the part where Joel and Ellie pet the giraffe. And maybe the very end where Joel confronts the doctors in the operating room, for those 40% of us who actually completed the game. And the only enemy encounter that was actually good and meaningful was the one-on-one cat-and-mouse boss fight with the cannibal David in the burning restaurant. Those sequences make up the emotional linchpins of the game and are genuinely moving moments of humanity [or inhumanity], and the perspective shifts that reinforce or contextualize those moments are -- dare I say -- artistic! But then 90% of the actual game that you play is rote cover-based shooting separated by stealth-lite and the occasional "puzzle" that never gets much more complicated than propping a ladder up against a wall.

For being a game about a grieving father eventually finding meaning in a surrogate daughter, it never really let the player act out the interactions between the characters. She was invisible to enemies in stealth and mostly took care of herself in combat. She lacked an upgrade tree and didn't really improve her combat or stealth abilities much over the course of the game, so there was also no ludic development of her character, and the player never feels like you are teaching her how to survive, or doing any of the surrogate father stuff that the game is supposed to be about.

So yeah ... overrated... Still good! But like a 7 instead of a 10 out of 10. "Sacrilege!" I know.

The companion isn't the sole focus of the narrative this time around.

This time, however, the relation between the player character and your NPC companion(s) is not the core of the story. This game is not about the character interactions that the player has no control over; this game is about the violence that the player absolutely has total control over! Ellie and Dina's relationship is the B plot behind the revenge plot, and gets further relegated to a C or D plot in the second half of the game. They're already friends/lovers before the game even begins, so there isn't much in the way of building a relationship. In fact, Ellie's story this time around seems to be more about how being a moody, self-absorbed teenager just pushes Ellie away from the people who care about her. It's more a game about being anti-social, which fits much better with both games' core gameplay.

Cycle of Violence

Now, I cannot talk about the artistic merit of the game without talking about the back half of the campaign. Naughty Dog may have embargoed publications from reviewing the second half of the game, but I'm not going to let that stop me from talking about it. Naughty Dog has no place telling critics or reviewers what they can and cannot tell consumers about the game. I'm personally not offended by the second half of the game like some other people are (I think it's the better half of the game, and Naughty Dog is lucky that I'm going to talk about it, because otherwise the game is a D-). I am, however, offended by Naughty Dog thinking they can impose a muzzle order on reviewers, even if it genuinely was in the interest of "not spoiling the game" (as opposed to just trying to hide a controversial element of design that might turn off some consumers). So yeah, I'm going to try to avoid specific spoilers of major plot developments, but this review will contain minor or moderate spoilers about the overall structure of the game.

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