The Last of Us Season 2 Was Never Going to Be Exactly Like the Game (and That’s Okay)
This article contains spoilers for The Last of Us season 2.
Season 2 of The Last of Us was undeniably a huge swing, as was the video game it’s based on. The Last of Us Part II features the death of the first game’s protagonist early on and forces the player to play as his killer not only before the deed is done, but for about half of the game part way through the story. It’s a narrative about cycles of violence and the lengths that people will go to protect who they love, but it’s also an exercise in empathy.
There’s a difference between embodying a character for hours at a time in a video game and watching a character do the same actions in a TV show. When you spend hours living and breathing and fighting for your life as a character, it’s easy to form an attachment to them, to prescribe our own ideas onto them as our morals inform theirs. Even though there’s not really anything the player can do to affect the overall outcome of the story in The Last of Us Part II, your playstyle is going to affect your experience. One player may try to sneak by the W.L.F. and Seraphite adversaries as Ellie, trying to kill as few people as possible. Another may go in knives and guns blazing, leaving an even larger trail of bodies in their wake. Neither method is “wrong,” but it is going to affect how you interpret the story and the characters as a player.
Translating this story and its structure to television was never going to be easy. The first season of The Last of Us had the luxury of adapting a beginning, middle, and end from the story of the first game. Season 1 also had nine episodes to tell the story of a roughly 10-hourgame and its approximately two-hour DLC meaning that we got to spend close to the same amount of time with the characters in the show as players do in the game. Season 2, on the other hand, is only adapting part of a game that can take upwards of 24 hours to play through, and only had seven episodes to tell this part of the story.
A lot of criticisms people have shared surrounding season 2 of the show are valid. There are parts of the story, especially when Ellieand Dinaget to Seattle, that feel rushed. There are some character choices that are or may seem different from those that are made in the game. But arguably, the heart of The Last of Us Part II’s story is still here, even if this season missed the mark with some aspects.
Of course Ellie’s Seattle arc is going to feel rushed when we only get three approximately hour-long episodes to cover it versus the close to eleven hours of gameplay Ellie’s Seattle arc gets in the game. We’re not going to be able to see how Ellie got all of the cuts and bruises that Dina is tending to in the season finale or watch her traverse Seattle in-depth – there’s simply not enough time.
It would have been great to get more time with Ellie and Dina in Seattle. But unfortunately, 13 or even 10 episodes for one season is a luxury that most studios don’t seem to want to afford in the streaming era. Even though The Last of Us co-showrunners Craig Mazin and Neil Druckmann have said that they chose to end the season at this specific point in the story and felt like seven episodes was enough to do so, I still don’t fault them entirely. Trying to do more with less feels more like a symptom of the state of TV and the industry as a whole than something to only blame The Last of Us writers for doing. At some point you get used to doing more with less and less.
With the structure of season 2, Mazin says that they “considered everything.” They thought about interlacing the stories of Ellie and Abby, but ultimately realized that switching perspectives halfway through the story is “part of the genetics of how this story functions.” But now that means “we have to take risks as a television show, and HBO is backing us taking risks. But then again, we just did kill Pedro Pascal. Likeunderstands that this show is going to be a different show every season, which is a tricky thing to do when you’re a hit show. You keep asking people like, ‘I know you love this, we’re taking it away and giving you this now.’”
Understandably not everyone has been on board with these changes. Season 2 of The Last of Us has a consistently lower IMDb score than season 1, and it’s hard to look through any form of social media without finding a mix of reactions from fans who are enjoying the story as it is and others who think that the writers have massacred their favorite characters.
But at the same time, Mazin, Druckmann, and TLOU Part II co-writer Halley Gross clearly have a deep love for this story, even if their interpretation of certain character’s decisions doesn’t always align with the audience’s. The characters in the TV show are different than the characters in the game because they experience these events differently.
In the show, Ellie has to sit in a hospital recovering for three months before she can even think about chasing Abby and her crew to Seattle. Setting aside that time for recovery is not necessarily something that a video game has to think about – a physical therapy level isn’t exactly something that players of a game like this are going to be excited about.
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It’s not that this version of Ellie is less angry than she is in the game. She’s just had three months to practice burying her anger so it’s more palatable for others. She has to convince the hospital, and Gail, that she’s fit enough to be released. She has to try and convince the council that she’s fit enough to lead a group to Seattle for justice. She has to convince a pregnant Dina that no matter what happens while they’re in Seattle, that this is the morally right thing for them to do.
Because we don’t spend 11-plus hours literally in Ellie’s shoes while watching the TV show, her grief has to be explored in different ways. It’s shown in the brief moment she plays the guitar while waiting for Dina to triangulate a route. Even though Ellie may not be throwing the guitar across the room, there’s still clearly anger mixed with the grief on her face as she plays her and Joel’s song. We see it when she lashes out at Jesse and chooses to go to the aquarium instead of following him to find Tommy. We see it when she screams out in pain in a hospital bed in Jackson. And we see it when Dina tends to her wounds. It’s not that she’s not angry or grieving, we just don’t get to see every single moment of it that we do in the game.
And of course Ellie is going to tell Abby that she didn’t mean to hurt her friends and beg her to spare their lives. Abby just shot Jesse dead in front of her and is standing over Tommy with his life in her hands just as she did with Joel. Even if this isn’t exactly how Ellie reacts in the game, it’s a logical trauma response to finally seeing Abby again. Abby was able to kill Joel – someone Ellie looked up to and probably thought was unstoppable as most kids do with their parents in their youth. It makes sense that seeing her again would trigger this kind of response in Ellie too. It’s not that she doesn’t want to kill Abby in this moment – she’s just trying to keep her and her loved ones alive for as long as she can.
We saw her do something similar with Davidin season 1. She made herself as non-threatening as possible to get him to let his guard down and then proceeded to viciously attack him. Ellie isn’t a stranger to lying and manipulating to get what she wants, even in stressful circumstances. Why should this be any different?
Mazin doesn’t deny that they took some risks with season 2, admitting to The Hollywood Reporter that “I don’t think television is supposed to work like this. We’re clearly breaking quite a few rules, and I love that. And I love it because that is the point. This is not something we’re doing as a gimmick.”
Mazin argues that The Last of Us forces us to interrogate what we believe about heroes and villains and see the flaws in that kind of black and white thinking, and he knows that this is “a challenging thing to keep track of emotionally” and that people are going to feel provoked by it. “But part of this story,” he says, “is about examining why we’re so comfortable with following one person’s point of view about everything.”
The Last of Us season 2 was never going to be exactly like the game, and that’s okay! When you’ve already made a story that resonates with so many people, it’s not going to be easy to recreate that story in another medium – especially in the streaming era when shows don’t always know if they’re going to be able to get all the seasons they want to tell the story. Time is a luxury that television doesn’t always have.
The show may not have hit a home run with every swing they took, but overall the story still lands. The heart of the game and its story of grief and loss and love and violence are still there. Hopefully fans won’t give up on the show just yet and trust that the show’s writers really do care about this story enough to do it justice.
#last #season #was #never #going
The Last of Us Season 2 Was Never Going to Be Exactly Like the Game (and That’s Okay)
This article contains spoilers for The Last of Us season 2.
Season 2 of The Last of Us was undeniably a huge swing, as was the video game it’s based on. The Last of Us Part II features the death of the first game’s protagonist early on and forces the player to play as his killer not only before the deed is done, but for about half of the game part way through the story. It’s a narrative about cycles of violence and the lengths that people will go to protect who they love, but it’s also an exercise in empathy.
There’s a difference between embodying a character for hours at a time in a video game and watching a character do the same actions in a TV show. When you spend hours living and breathing and fighting for your life as a character, it’s easy to form an attachment to them, to prescribe our own ideas onto them as our morals inform theirs. Even though there’s not really anything the player can do to affect the overall outcome of the story in The Last of Us Part II, your playstyle is going to affect your experience. One player may try to sneak by the W.L.F. and Seraphite adversaries as Ellie, trying to kill as few people as possible. Another may go in knives and guns blazing, leaving an even larger trail of bodies in their wake. Neither method is “wrong,” but it is going to affect how you interpret the story and the characters as a player.
Translating this story and its structure to television was never going to be easy. The first season of The Last of Us had the luxury of adapting a beginning, middle, and end from the story of the first game. Season 1 also had nine episodes to tell the story of a roughly 10-hourgame and its approximately two-hour DLC meaning that we got to spend close to the same amount of time with the characters in the show as players do in the game. Season 2, on the other hand, is only adapting part of a game that can take upwards of 24 hours to play through, and only had seven episodes to tell this part of the story.
A lot of criticisms people have shared surrounding season 2 of the show are valid. There are parts of the story, especially when Ellieand Dinaget to Seattle, that feel rushed. There are some character choices that are or may seem different from those that are made in the game. But arguably, the heart of The Last of Us Part II’s story is still here, even if this season missed the mark with some aspects.
Of course Ellie’s Seattle arc is going to feel rushed when we only get three approximately hour-long episodes to cover it versus the close to eleven hours of gameplay Ellie’s Seattle arc gets in the game. We’re not going to be able to see how Ellie got all of the cuts and bruises that Dina is tending to in the season finale or watch her traverse Seattle in-depth – there’s simply not enough time.
It would have been great to get more time with Ellie and Dina in Seattle. But unfortunately, 13 or even 10 episodes for one season is a luxury that most studios don’t seem to want to afford in the streaming era. Even though The Last of Us co-showrunners Craig Mazin and Neil Druckmann have said that they chose to end the season at this specific point in the story and felt like seven episodes was enough to do so, I still don’t fault them entirely. Trying to do more with less feels more like a symptom of the state of TV and the industry as a whole than something to only blame The Last of Us writers for doing. At some point you get used to doing more with less and less.
With the structure of season 2, Mazin says that they “considered everything.” They thought about interlacing the stories of Ellie and Abby, but ultimately realized that switching perspectives halfway through the story is “part of the genetics of how this story functions.” But now that means “we have to take risks as a television show, and HBO is backing us taking risks. But then again, we just did kill Pedro Pascal. Likeunderstands that this show is going to be a different show every season, which is a tricky thing to do when you’re a hit show. You keep asking people like, ‘I know you love this, we’re taking it away and giving you this now.’”
Understandably not everyone has been on board with these changes. Season 2 of The Last of Us has a consistently lower IMDb score than season 1, and it’s hard to look through any form of social media without finding a mix of reactions from fans who are enjoying the story as it is and others who think that the writers have massacred their favorite characters.
But at the same time, Mazin, Druckmann, and TLOU Part II co-writer Halley Gross clearly have a deep love for this story, even if their interpretation of certain character’s decisions doesn’t always align with the audience’s. The characters in the TV show are different than the characters in the game because they experience these events differently.
In the show, Ellie has to sit in a hospital recovering for three months before she can even think about chasing Abby and her crew to Seattle. Setting aside that time for recovery is not necessarily something that a video game has to think about – a physical therapy level isn’t exactly something that players of a game like this are going to be excited about.
Join our mailing list
Get the best of Den of Geek delivered right to your inbox!
It’s not that this version of Ellie is less angry than she is in the game. She’s just had three months to practice burying her anger so it’s more palatable for others. She has to convince the hospital, and Gail, that she’s fit enough to be released. She has to try and convince the council that she’s fit enough to lead a group to Seattle for justice. She has to convince a pregnant Dina that no matter what happens while they’re in Seattle, that this is the morally right thing for them to do.
Because we don’t spend 11-plus hours literally in Ellie’s shoes while watching the TV show, her grief has to be explored in different ways. It’s shown in the brief moment she plays the guitar while waiting for Dina to triangulate a route. Even though Ellie may not be throwing the guitar across the room, there’s still clearly anger mixed with the grief on her face as she plays her and Joel’s song. We see it when she lashes out at Jesse and chooses to go to the aquarium instead of following him to find Tommy. We see it when she screams out in pain in a hospital bed in Jackson. And we see it when Dina tends to her wounds. It’s not that she’s not angry or grieving, we just don’t get to see every single moment of it that we do in the game.
And of course Ellie is going to tell Abby that she didn’t mean to hurt her friends and beg her to spare their lives. Abby just shot Jesse dead in front of her and is standing over Tommy with his life in her hands just as she did with Joel. Even if this isn’t exactly how Ellie reacts in the game, it’s a logical trauma response to finally seeing Abby again. Abby was able to kill Joel – someone Ellie looked up to and probably thought was unstoppable as most kids do with their parents in their youth. It makes sense that seeing her again would trigger this kind of response in Ellie too. It’s not that she doesn’t want to kill Abby in this moment – she’s just trying to keep her and her loved ones alive for as long as she can.
We saw her do something similar with Davidin season 1. She made herself as non-threatening as possible to get him to let his guard down and then proceeded to viciously attack him. Ellie isn’t a stranger to lying and manipulating to get what she wants, even in stressful circumstances. Why should this be any different?
Mazin doesn’t deny that they took some risks with season 2, admitting to The Hollywood Reporter that “I don’t think television is supposed to work like this. We’re clearly breaking quite a few rules, and I love that. And I love it because that is the point. This is not something we’re doing as a gimmick.”
Mazin argues that The Last of Us forces us to interrogate what we believe about heroes and villains and see the flaws in that kind of black and white thinking, and he knows that this is “a challenging thing to keep track of emotionally” and that people are going to feel provoked by it. “But part of this story,” he says, “is about examining why we’re so comfortable with following one person’s point of view about everything.”
The Last of Us season 2 was never going to be exactly like the game, and that’s okay! When you’ve already made a story that resonates with so many people, it’s not going to be easy to recreate that story in another medium – especially in the streaming era when shows don’t always know if they’re going to be able to get all the seasons they want to tell the story. Time is a luxury that television doesn’t always have.
The show may not have hit a home run with every swing they took, but overall the story still lands. The heart of the game and its story of grief and loss and love and violence are still there. Hopefully fans won’t give up on the show just yet and trust that the show’s writers really do care about this story enough to do it justice.
#last #season #was #never #going
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