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The Last of Us Part II Review

The Last of Us Part II Review

There’s an argument to be made that 2013’s The Last of Us was a game that never needed a sequel. While its ending certainly left the door open for future instalments, it concluded with a solemn and morally questionable decision that felt all too fitting for the overtly violent world the game had depicted, and it would have been extremely difficult to write a story that justified re-examining those crucial final moments. Now after a lengthy seven-year wait, The Last of Us Part II is finally upon us, and while it is unmistakably ambitious, it fails at the monumental undertaking of validating its own existence.

Five years after the events of the first game, our leading characters Joel and Ellie have slipped into a formulaic and mostly sheltered lifestyle in the quaint Jackson settlement, a safe-zone that Joel’s brother Tommy helped build alongside his wife Maria. The opening couple of hours effectively depict a much more harmonious existence for Ellie in particular, who has finally found some form of stability in her life, before tragedy quickly strikes and strips a key pillar of support from her, via a murder orchestrated by a mysterious rival group. Ellie, of course, seeks revenge on this group by travelling to Seattle with the sole purpose of killing the one who committed the execution.

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Initially seeming like a typical revenge set-up, Part II’s narrative quickly blossoms into something much more experimental, jumping between different perspectives and moments in time to paint a much fuller and more nuanced picture. Even more so than the first game, it’s a story that’s rife with moral ambiguity, with its dualistic approach to story-telling painting events in one light, only to give the player a much more balanced understanding by showing another side of the conflict. While this more experimental approach mostly weaves together its disparate threads in unexpected and satisfying ways, it also results in some damning pacing issues that weigh down the experience immensely.

For the first 8-10 hours of Ellie’s journey throughout the war-torn and overgrown streets of Seattle, plot progression moves at an insufferably slow pace, making huge stretches of the game feel essentially pointless. Some of the lengthy dead-air is used to give way for character interactions between Ellie and her interchanging companions, but unlike the first game, a number of these new characters fall completely flat.

Joel is still present at times, and his interactions with Ellie often act as highlights throughout the story, effortlessly recapturing their relationship which made the original so irreplaceable to many fans. His screen time overall has been reduced significantly, however, with Ellie’s new friends filling the void instead. What’s unfortunate is that her relationships with these new characters don’t come close to feeling as believable or as authentic as her moments with Joel.

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Ellie has a girlfriend now named Dina, and the game seems to work under the assumption that everyone will immediately like her without being given a reason to. We’re told that she’s formed a long-standing close bond with Ellie over the time between the first and second game, but we’re not shown any of it. Dina also lacks any sense of agency, simply tagging along with Ellie a lot of the time just because they’re in a relationship, leaving her feeling devoid of intrigue. Ellie’s other friend Jesse also fails to leave much of an impact, mostly due to his lack of overall screen time or relevance to the story.

The narrative thankfully picks up substantially in the second half, with a larger dynamic cast and plot developments being doled out at a much more frequent tempo. Even still, the issue of pacing feels pervasive later, leading to larger scenes of character growth and decisions feeling oddly rushed through. This even extends to the story’s climax, where the logic behind a conclusive character choice is swiftly brushed over, with the reasoning being barely justified.

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While the story is a clear step backwards, both in its pacing and character writing, other key facets of the game have seen notable improvements. Gameplay improvements have been given appreciable consideration, both in mechanics and how the game incentivises their use. Combat still packs the same unmistakable punch that it did in the first game, thanks to the weighty animations and impactful sound design, but now players also have a bevy of new options to take advantage of.

A dedicated dodge button makes the melee combat feel slightly less one-dimensional than it previously did while also giving players a way to quickly duck out of the way of gunshots. Tight spaces in between two objects – referred to as “squeeze throughs” – also allow for additional ways to get out of immediate danger. Meanwhile, the abilities to both jump and go prone add an extra layer of verticality to combat, along with more stealth options and hiding places.

Combat arenas take good advantage of all of these systems, with their larger scopes and more seamless use of environmental objects giving many more chances to get creative with dispatching of groups. New enemy types, such as the dogs, also force the players to think on their feet, being able to sniff out their scent and lead enemies directly to them, and subsequently forcing more quick-second decision making.

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Some of the most notable changes come from the Infected, which feel like a more frightening and less predictable threat than in the previous instalment, both from their visual tweaks and new variations. The eyes of the Runners somehow manage to convey a sense of malice while also seeming lifeless, and their stares can send a chill down the spines of even the most avid horror buffs. Meanwhile, the new Shamblers have designs that are as immediately grotesque and striking as the now-iconic Clickers, while their abilities and traits add another flavour to Infected encounters.

The dynamic nature of combat is immensely satisfying, but somehow the game’s pacing manages to interfere here too. The new mechanics and enemy types are drip-fed into combat encounters at an insultingly slow rate that feels borderline-patronising. The game appears to have no trust that the player will be able to keep up with such banal concepts as hiding in tall grass or under cars, unless they’re incorporated into the gameplay after several hours. What’s worse is the mockingly lenient checkpoint system, which feels like a direct knee-jerk reaction to anyone who has ever complained about a game being too frustrating. If you die during a combat encounter with a larger group, you’re not sent five minutes back to the start of the encounter, you're sent back mere seconds prior to the point where you were spotted and subsequently killed. Any air of tension that’s built up in these combat encounters immediately dissipates when it becomes all too apparent that there’s a constant safety net. It’s ironic that a game about surviving a harsh world of brutality would be so mindful of constantly coddling the player.

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Anyone who decides to replay The Last of Us Part II just to get an additional fill of the fun gameplay will be frustrated to know that it features long stretches of barely interactive sections where the characters just talk, along with numerous unskippable cutscenes. Without a multiplayer mode this time around, anyone who enjoys the game primarily for the gameplay is left out to dry, as they’ll be forced to sit through hours of slow story content. What makes it an especially glaring oversight is the fact that the game goes out of its way to provide a seemingly unprecedented array of accessibility options for all types of players, but is unintentionally designed to work against those who’d ever want to play the game again solely for its gameplay.

Much like its 2013 predecessor, Part II is a technical showpiece, pushing the PlayStation 4 hardware to its limits to provide some of the most obsessively detailed and beautifully rendered environments that one can find in a modern AAA game. The sheer amount of work that clearly went into bringing this post-apocalyptic interpretation of Seattle to life can’t be understated, and Naughty Dog has yet again proven itself as one of the leading developers in the industry when it comes to visual fidelity.

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While it undoubtedly matches the proclamations of being Naughty Dog’s most ambitious title yet, The Last of Us Part II is a game that also feels like it could greatly benefit from an edit. Some odd priorities, excruciating pacing, and weak character writing keep this intriguing game from being excellent, even if its gameplay and presentation have received large improvements. Upon reflecting on the 25-hour journey, there may be a point where you start to question what the purpose of it all was. Maybe it’s intentional, but for many, it’ll feel more like a meandering endeavour; albeit one with a gorgeous world and enjoyable mechanics.

7.00/10 7

The Last of Us Part II (Reviewed on PlayStation 4)

This game is good, with a few negatives.

Some odd priorities, excruciating pacing, and weak character writing keep this intriguing game from being excellent, even if its gameplay and presentation have received large improvements.

This game was purchased at retail for the purpose of this review
Francis Kenna

Francis Kenna

Staff Writer

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COMMENTS

Riverkat
Riverkat - 04:15am, 28th June 2020

Nice review. The flaws in this game is quite obvious as a plot-driven game. Just cannot understand so much perfert scores on Metacritic.

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franjaff
franjaff - 01:07pm, 28th June 2020 Author

I feel like The Last Jedi is the best comparison that's been made. Or Mass Effect 3, if you want to keep the comparison to games. 

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Kris
Kris - 07:55pm, 29th June 2020

Loved the review. As a fan of the original game, I didn't think a sequel was ever needed. And should one have been made, I felt it'd go down the same old tired sequel tropes these kind of stories tend to follow, and sadly they did. 

A pointless revenge story with "twists" fans guessed before the original teaser trailer was released that didn't have to be told and retroactively hurts the original "The Last Of Us", making this for one of the most disappointing sequels to a beloved classic i've played. 

None of the characters or relationships in this game match what the original had with Joel and Ellie, and with all the flashbacks I feel the developers knew that too.

Overall, I can't help but feel this game should never have been made. The writing, storytelling and magic of the first game wasn't there. Just a hallow cutout of my favourite characters, an introduction of shallow new ones, and scenes trying to force an emotion upon you. 

Nothing about TLOU2 feels natural, and I feel public opinion will weaken once time as passed. Shame. 

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franjaff
franjaff - 09:36pm, 29th June 2020 Author

It seems to me that public opinion is already extremely mixed. 

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Spencer
Spencer - 09:20pm, 29th June 2020

You articulated your points extremely well, even though I wholeheartedly disagree.  The problem with the score system is that a game like this gets compared to other games that have been given the same score.  If the Sinking City gets a 7 does that mean both games are on the same level?

This game is not perfect by any stretch, but I think it does so much right and attempts to push the video game medium forward in ways developers have never thought to do.

I was discussing the game with some colleagues who finished the game too and happen to be literature majors who say this game is on another level when it comes to video game storytelling.  There are a lot of great think pieces out there that can articulate the many themes and storytelling archetypes better than I can that I urge anybody reading with an open mind to seek out. 

George RR Martin often talks about consequences being a vitol aspect of good storytelling regardless of a reader/viewer's emotional attachment to the characters and story.  Robb Stark suffered the consequences of his decision to not honour his word to marry the Frey daughter resulting in the Red Wedding and a moment where a large majority of the audience threatened to "quit" the show.  Joel suffers a similar fate for the consequences of his selfish actions at the end of game 1.  A large portion of the fan base doesn't seem to understand that and are to quick to resort to the emotional outrage we have seen as a result.  We are supposed to feel the way we do, but that is what good storytelling does. Like the Red Wedding.  It was earned, rather than a story catalyst for cheap shock value.

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franjaff
franjaff - 09:45pm, 29th June 2020 Author

I'm not wild on review scores myself, but they can be a good quick metric for checking the general responses for games. I think they're mostly fine, so long as the review itself matches the score. 

As for pushing the medium forward, I personally didn't see it outside of the presentation. I'm always open to discussion and hearing other people's insights though! 

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Livin in a box
Livin in a box - 09:52pm, 29th June 2020

For me, I think the outrage over that event at the start of the game has mostly come because it was leaked, and the leaker put a spin onto events on the game that 1) make sense in the context of the story and 2) were untrue anyway, or focused on certain things that weren't really major plot points anyway. I'm trying to avoid spoilers here!

From what I have seen there is greater negativity towards the second half of the game centered around somebody who most people don't really care about. You can't simply compare a game like The Last of Us straight against Game of Thrones. Whilst there are sections of Game of Thrones (especially the last couple of seasons) where you're not as interested in the characters you're following, it doesn't really matter because in a few minutes, you'll be onto the next scene. The story advances elsewhere and you're not stuck watching somebody you hate for an hour.

That's difficult to pull off in a video game, and I think that's this game's achilles heel. For those who do grow to like Abby and her story, it's fine. But for those that don't, it ends up a drag because for most parts, it's not intertwined with anything else. When I was in the second half, at times I just felt like I wanted to get through it as quickly as possible so I can get to the resolution of where the game left Ellie's storyline, which obviously isn't what they were intending for the players to feel like.

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Spencer
Spencer - 10:25pm, 29th June 2020

I was speaking more about the books from a writing stand point.  But I remember the audience reacting to key moments in the series such as the Red wedding and Ned's death the same as both readers and watchers did at the time.  There were huge subreddit discussions before the books were even adapted.  The writing in the Last of Us can actually be compared to Game if Thrones on many levels.  

There are books in the series that completely omit key characters and have even been accused as disrupting the overall flow and momentum.  Feast for Crows centres heavily on Cersei Lannister and her point of view or events.  Most despise her character on a personal level for who she is but at the same time can admit that she is a brilliantly written and layered character.

On another note, just because a game comes out and isn't for you, doesn't mean it shouldnt be recognized for its accomplishments.  For example, MGS5 wasn't really for me, and my experience with it was probably a 7/10.  But if I was a reviewer, I couldn't objectively rate it anything less than a 9.5 for its standout game mechanics and overal package.  I think game journalists get a little too caught up in their personal feelings both positively and negatively that it interferes with their objectivity.  The review becomes about them.  ACG is an example of a reviewer looking out for the buyer first and foremost and will still recommend buying a game even if it's not for him.

Games that seperate themselves from the pack in their respective categories should be commemerated for it.  Zelda having no story to speak of should not be compared to a game like this but I still feel both deserve the accolades they received.

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franjaff
franjaff - 12:29am, 30th June 2020 Author

For the sake of clarity, TLoU2 is a game that appealed to me. I wouldn't have bought it if it wasn't. I like the first game and I approached the sequel with a pretty level-headed mindset, not letting the leaks cloud my perception one way or the other. I let the game speak for itself, and I think I was pretty fair towards it. I gave it a 7 because I liked the game well enough, but I truly believe it has its share of notable flaws. 

Do I think it's a must-play for everyone? No. Do I think people with an interest in the game should check it out? Yes, even if that recommendation comes with a few caveats. 

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Zander
Zander - 08:14am, 30th June 2020

It is a game with several flaws, but for me it is a 10/10 game. (And plaese, don't argue with that stupid objectivity. Any artistic genre is subjective, and cannot evaluate in objective ways. You, as the gamer aren't an objective observer too.)

I can't mention any better and deeper storythan TLOU2. There are so much details in character emotions, and every moment, scene, action builds this emotional connection with the gamer. (Surprise: no game without flaws, it cannot be an arguement for anything.)

It is a deep story which connected in every detail to the ending of the Part I. The entire game is about the grief in a non-lineral way, with fantastic flashbacks (Wyoming Museum, or the Salt Lake city scene, or the LAST Ellie-Joel talk at the end, etc), with so much symbols, and parallelism with the Part I, or between Ellie and Abby-part. And the last scene, the final conversation between Ellie and Joel on the porch, it is so perfect, a much better end than in Part I. It uplifts the sad lying of the Part I (with the same last "okay" word), and give the final bitter stab for the gamer, because that is Ellie's and Joel final talk, and they started rebuilding their relationship again. That moment is the best last scene in any videogame. This game is Ellie's farewll from the beloved Joel in an extraordinary, aggressive way, which is fits to this harsh pos-apocaliptic world. Meanwhile you, as the gamer understand Abby's point of view, which is a mirror of Ellie, who becomes an empty shell after the fulfilled revenge, who desperately seeks her salvation and purpose, and feelings.

When you realize that it is not just a game, and you understand there is no main quest, and the antihero, the boss is not just a beateble boss, or when the game persuades you to fight with her (or to kill Ellie), but you don't want to, because the situation is a madness, these are beyond the video game logic. A few of the gamers unfortunetaly can't understand this (they want the payoff, and can't understand what the real payoff is), but it is very important to step out from these frames. If you don't understand the story, it is sad, because you won't understand the game. But it is not the game's fault. Maybe you can try it again a couple years later, and just feel as Ellie feels, and understand the characters, the motivations, their feelings.  These are the important points of the game are worth talking about.

The techical parts are obviously shining, and above any other games. Ok, we know it. But everybody who gave 10 for the Last of us part II, give it due to the story and the characters, and the emotional parts. It is the important, it is above of any other game. That is the secret.

(I am 44, i have been playing since 1980. First platforms were ZX Spectrum and C64.)

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Livin in a box
Livin in a box - 10:41am, 30th June 2020

For me, if a game has flaws, then it's not 10/10. I would very rarely give any game 10/10. If you start giving games 10/10 even if they have flaws, you're demeaning the use of the score - even though personally I am lean towards the argument of no scores.

That aside, though, I do agree that some people are viewing the game too simply. It isn't just all about revenge, there are some more nuanced things to take away from the game than that. As Spencer pointed out in their comments, Ellie has to deal with the consequences of her actions at the end and all the way throughout the game. It's showing you how you should have empathy even for those you consider enemies, or at least take the time to understand their story. 

No matter though how complex a story may be, the fact is that this is still a video game. Not to say it can't deal with complex topics or provoke thought in this way, but it still has to be entertaining, because you're an active participant. You're not passive as you would be if this was a TV show or a book, or whatever. That's the difficult part. There are some odd pacing issues in there that probably wouldn't be evident if this was adapted to TV or film. You could more easily intertwine the two storylines so as to not jolt half way through to another story as the only focus for x amount of hours, which I don't think would work in this game.

The story is only part of a game. The other thing you need to get right is everything else surrounding that. Technically, it's absolutely fantastic and seriously impressive on a PS4, but it falls down when it comes to pacing and the delivery of its story. I don't think you can give it a 10 when it isn't absolutely perfect.

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Veldt Falsetto
Veldt Falsetto - 12:09pm, 30th June 2020

I don't agree, 10 doesn't mean perfect, it means amazing or masterpiece. A game gets a 10/10 if it's the best of its kind, if it's incomperable to other games because of how good it actually is, though obviously it's tough to attain that score.

Obviously reviews are subjective as well so getting a 10 is wholly a part of one person believing one game is the best of its genre or the best of its type. I think if 10 is unattainable then you're using a 1-9 scale instead and if you're IGN for example if 10 is unattainable you're on a 7-9 scale because a lot of reviewers don't use the full scale.

If the number is there, use it.

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franjaff
franjaff - 01:04pm, 30th June 2020 Author

I don't buy into the nonsense that TLoU2's narrative is above other games when the pacing directly interferes with the story. Ellie's side of the story is mostly uneventful for huge stretches, while Abby's relationship with Lev and her changing loyalties are aspects that desperately needed more time.  

TLoU2 isn't the first game to deal with themes of grief and revenge, and it certainly won't be the last. It's not the first game to make you question the actions of the character either, forcing you to perform actions you don't want to perform. 

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Zander
Zander - 02:34pm, 30th June 2020

"I don't buy into the nonsense that TLoU2's narrative is above other games when the pacing directly interferes with the story."

No causal connection between the two parts of your sentence. It is a nuansed story where all of the details are matter. And there is no major videogame can solve the pacing/story contradiction. If it is a problem for you, you can't give any game a better review.

I can explain you why the last talk of Ellie and Joel is very important, and one of the best ending i have ever seen. It is a wonderful forgiveness moment, and the most painful too, beacuse Abby stole the possibility to build up this connection again. That is why Ellie can't stop, that is why so angry she is till the end. Listen to Joel's guitar song, and you will understand it. And besides this, this is the scene that causes Ellie to finally reach her inner peace, and accept Joel's death.

"It's not the first game to make you question the actions of the character either, forcing you to perform actions you don't want to perform."

Could write a list to talk about them seriously? Because without any example it is hard to take seriously your opinion, or just talk about it.:) (I help with one: Spec Ops: the Line). And please, read carefully, i wrote this narrative is beyond the videogame logic. Yes, some (mainly indie) stuff created the same aura. But from the AAA category? Not too much. You play it, you have quests, hopefully get a good stroy, and win at the end.

It is a more complicated game, than you think. It's easy to say that is a game about revenge and grief, but in this case the Apocalypse Now is just a movie about guns. A story with full off symbolism, excellent cutscenes, and sharp emotions is not just a revenge story. This is an insult to the entire videgame development and storytelling.

This is the scene that causes Ellie to finally reach her inner peace and accept Joel’s death

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franjaff
franjaff - 03:01pm, 30th June 2020 Author

You seem to be implying that I didn't understand the narrative. I did. If it seems like I was a bit vague in my review, it's because I didn't want to delve into spoilers and potentially ruin the game for people. 

And pacing is definitely a factor than can be taken into account with a mostly-linear, story drive game such as TLoU2. It's not a game where you can spend hours completing optional side activities that distract you from the main story progression. At most, you spend some time thoroughly combing over rooms for additional resources, or cracking optional safe codes. 

As for games that make you perform questionable actions, Shadow of the Colossus is my favourite example. From the start, that game sews seeds of doubt about the player's actions that only grow throughout the course of the story. Hell, the original TLoU ran with the notion that Joel's actions were pretty suspect during the final confrontation, and everyone who finished that game had to engage with those actions. Even the cringe-worthy Borderlands 2 - an entry in a series with some truly grating dialogue and characters - made me feel a level of apprehension towards fighting Bloodwing, given that I played as Mordecai in the first game. 

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Mike
Mike - 03:13am, 1st July 2020

From what I've seen, as more people complete the game the vitriol has lessened, and the discourse around the game has gotten consideriably more interesting to read, as people dissect what is for me a fantastic story and well written characters. 

Pacing issues is something that is there, but I think it's either a slight issue or a huge one depending on if you enjoyed the story. If you hate Abby and don't wish to see her perspective, or just don't care about multiple characters, then I understand the game would drag. I see your comment that the first half with Ellie is largely uneventful. While the very opening Seattle section is slower (although it gives the game time to connect you more to Dina, which it seemed to fail to do for you), after that it's a very purposeful display of someone on a path to losing their humanity, wouldn't be much of a revenge tale without the protagonist getting any revenge. And it sets up the WLF/Scars and the dynamic existing in this city. On a 2nd playthrough with Ellie the hints on what's going on is very cool when you've experienced Abby's section. And from Nora onwards the pacing is a non issue for me.

As for Abby's section, I think the game gave us long enough for her to connect to Lev and abandon the WLF. For me, I view her helping Lev and Yara as a selfish thing. Killing Joel did nothing for her and her nightmares, she needed to do something good, get back to what she thought she would be doing with the Fireflies, fighting the good fight (she admirably describes a fallen soldier in the hospital in this way). There is dialogue throughout that shows you this, she outright admits to Lev why she's helping him. Regarding the WLF, she constantly questions Isaac, and her conversations with Owen reveal a longing to be a firefly again, and wondering how they ended up with the WLF, an organisation they don't have a huge allegiance to. Abby was their top scar killer, but this was before Joel. She was training to be a killer, and had built up rage inside her. So I think we're not expected to view the relationship between Lev and Abby as anything similar to Joel and Ellie. They are just two people that need an escape from their current life, why not do it together. 

I respect your opinion, and enjoyed your review. Just fancied adding my perspective to your main complaint about the game, and why it didn't get in the way of me enjoying this story a ton.

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Mike
Mike - 08:32am, 1st July 2020

I say Nora onwards but I actually mean killing Jordan onwards. After that the pace picks up for Ellie and has you escaping from the WLF, and realising they are way more armed and organised than you thought they were. Then the TV station, where we cross Leah off the list and get our first introduction to the scars and what they can do, and shortly after that Dina and Ellie both revelaing secrets to each other. And then day 2, where we have the search for Jesse (excellent level design makes going through Hillcrest very fun), and then go for Nora. It definetly starts slow in the open Seattle area, but picks up shortly after that imo.

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franjaff
franjaff - 04:04pm, 1st July 2020 Author

The point I tried to convey was that the pacing was the reason I didn't enjoy the first half of the story in Seattle. The pacing didn't feel unbearably sluggish to me because I didn't enjoy the story content, there wasn't enough meaningful story content outside of Ellie and Dina putting together a few clues, and some character interactions to make hours of playtime feel interesting. It took me around eight hours to get from the start of Seattle to meeting Nora in the hospital. For the sake of comparison, eight hours is around 60% of the original game. 

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Mike
Mike - 07:59pm, 1st July 2020

I understand, I just didn't feel that way. There were enough story beats to keep me going, and I understood that for game of this length, it was slowly building up. Part of what I don't totally get with this criticism is peoples insatiable need for plot. This opening didn't feel much different from large portions of the original, where not much was happening except for Ellie and Joel heading somewhere. They spent a huge amount of time in Pittsburgh just mowing through enemies and heading towards the bridge. Both games leaned on character moments in the place of heavy plot, and environmental storytelling in each city. But I'm guessing the Ellie Dina relationship just didn't keep you interested, or the improved gameplay in part 2?

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franjaff
franjaff - 08:23pm, 1st July 2020 Author

Yup. Ellie's new relationships failed to strike much of a chord with me, so it further compounded the issue of the slow moving plot points early in the game. The improved gameplay was enjoyable, but it's hard to fully appreciate that in a vacuum when the narrative is such an intrinsic component of the game. 

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Mike
Mike - 08:56pm, 1st July 2020

Gotcha, I think that's what made the 2nd half such a huge problem for other people as well, they didn't care about Abby or her friends so everything that happens is filler to them until they're back at the theater. I think building the Dina Ellie relationship is important for later in the game, making the player feel for what Ellie is losing in her determination to get Abby after finding out she's in Santa Barbara. But if it doesn't work for you then that's fair. Playing a 2nd time, I'm focusing on the convos between them and I'm enjoying it, and I'm noticing the subtle hints from Dina as I progress that this journey is starting to go too far, which sets the player up for a change in how they view Ellie after Nora.

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Bitel Diamond
Bitel Diamond - 08:51pm, 30th June 2020

Animal Crossing 95 , go to play with the labo , moron of 40years old and playing Games for Kids

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franjaff
franjaff - 09:02pm, 30th June 2020 Author

Can you retype that comment? I don't understand what point you're trying to make. 

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