‘The Last of Us’ Is Afraid of Ambiguity

When I was reflected in the last The last When the game first appears in 2013 in PlayStation 3 before and its continuation was eliminated for death On each subsequent console – I reminded Late, Great Director David LynchSustainable philosophy in the art of uncertainty in art. Rather than to lead the specific comments of work such as Internal empire, Mulholland driveror Twin topsLynch stressed the importance of feeling after living the work of a follower. Therefore, instead of massage by massaging by the creator of the emotional resonance, rather than giving a neat package, independently, independently wrestled with mysteries, and more important to the audience.

At the end of the 12-year-old game, Joel’s decision to kill firefighters, burned his deep love for Ellie, as a result, condemned the ruthless grip of the detail of Kordyceps. He was strongly echoed TIt shows the last part of the United StatesShawn James’ Haunting song “through the Valley” Haunting song “highlighted the survival and spiritual features. Joel’s first season adaptation is a feeling as a feeling that strengthens the weight of Joel.

Again, on the way to the final of the second season – a season It takes a breathless breath like the first example of the game as an artIt is clear that I found both funny and naivety for both funny and environments, and a claim that the show was completely frightened of the artistic depth of the show. Sustainable efforts to clarify the spiritual complexity of Neil Druckmann, the director of the game director and series Creating a mixture already does not increase the continuously effect; Instead, they primarily reduce the very intrigue that forcing.

In Penultimate episode one The last Season two, Ellie (Bella Ramsey) and Joel (Pedro Pascal) Finally (a kind of) Joel’s firefighters’ greeted the truth behind his deception in search of a treatment. I killed Ellie, so he killed them first instead of his happening. Classic Joel. GAmers were discussed for a long time due to Ellie’s death causing or lack of treatment; The game itself played Ellie’s immunity and unknowingly shared and shared with the rest of the world, and unknowingly played the uncertainty of the nations in the universe. Appeared in Druckmann Holy characters Podcast (Thank you, Gamesradar +!) and the definite answer about Whether or not the treatment of firefighters.

“Can Fireflies be treated? Our intention was, yes, they said,” said Druckmann. “Now our sciences are questioning people now, this is a little shaken, and now people can say so. I can say that our intention should be treated.”

Druckmann’s notes Provides a concrete response in a stroke that is an open villain for the first time open The last Season two. Also, the uncertainty that forces to start is also upside down. Once a morally complicated mystery is now put in a neat position, Participating in the double show should watch the TV, which must follow it. This is just one of many cases The last Print everything instead of embracing the uncertainty. As someone who is deeply annoyed by games, this has become an increasingly nervous experience.

Like The last For those who participated in the audience for themselves, the season, rather than trusting the audience for themselves, went out of a creative license to insult the exploration of the audience for themselves. Abby (Kaitlyn Dever) Motivation to kill Joel, a revelation that appears in the middle II End of the United StatesIn the open conditions, “handsome”, which is “pretty”, which is “pretty”, “pretty,” is pretty and attractive to playing and learning the story of “pretty”, “pretty,” immersion’s “pretty.”

Meanwhile, Joel’s Portrayal Dear Praise, everyone talking about his ownity, said that the thornness will be more diluted and former decisions will be the ethic ethics.

Another main difference is in time of Ellie’s realization. In his adaptation of the HBO, he confirms the suspicions of Joel’s death, while in the game, Ellie has this amazing conversation with Joel years before becoming a starting point of two seasons. False, breaking their ties, no contact is more severe, not to cause Ellie’s journey to peace with Joel.

On the contrary, HBO Ellie is in a hurry through emotional fall, almost accelerates the grief, this is the prospect of Joel, the mercy of mercy, Gailin (Catherine Ohara), Gailin (Catherine Ohara) and Gailin (Catherine Ohara), said the mercy of mercy, Gailin (Catherine Ohara) and Gailin (Catherine.

As a result, HBO Ellie still comes to the same conclusion as a colleague: Joel’s deception was betrayal. However, in the game, this revelation faces unresolved tensions and removal in the mind of Ellie. The show, this emotional arc, straightens the depth of the domestic struggle of Ellie and feels like a narrative commitment than a natural progress.

One of the most nervous additions is that O’Aara’s sardonic line is like a cystic part of the story, to surrender with the stealing of the scene, looks like an organic part of the story. Joel and Ellie’s emotions only refer to the stories of Ramsey and Pascal, silent and untold tensions, sweepers and unusual tensions, and writes everything.

The show, which has a neuvasion moments with spoon-nutrition audience, strengthens the fact that the audience does not trust the self-definition. Perhaps to avoid the volume of the same type, perhaps a clear diligence to avoid the volume of the same type of the game Online aggression and death threats Abby’s voice actor Laura Bailey, endured. Joel was never an angel and a hard-fifty confidence instead of extending his spiritual complexity, the celebrations could not necessarily sacrifice the celebration.

Ellie also lost the rough edges that made him a forced hero so much for him. Revenge that revenge that emotionally changeable force The last of the United States IIHe left volumes without leaving and ripped from angry Seattle, it becomes a blorbo-iFied version of the person. Here, it is an antihero and more softened, almost passive figure that will make you feel at home at home at home at home at home at home at home in their own story.

Dina feels more locked in the mission, despite something two-year-old, along with Ellie next to Ellie, who looked at several olders in the first season, is connected with Ellie, who is worried more than crushing heads. This is more than a script that Ramsey’s fault is not obvious, but more than an ass as an asshole that most of the games do not want to color Ellie as an ass.

Then there is Druckmann who could not allow the uncertainty of the story to himself, Pivotal moments from the last HBO’s ends of HBO games Inside the episode Vignettes. We are honest, this post-show segments do not provide deep views they are trying. David BeniOff and DB begin to look like a blank comment from Weiss Game Nululed story, here’s the last season breakdowns for binding.

There is a large difference between uncertainty that provides an indefinite position, which provides an indefinite position, which is involved in their topics and creation and creative cowardice under pressure and creative cowardice. The last Stretching towards the beginning of it, just choosing to make, not just the present, not to clarify, justify and explain. This once changed something attractive to a clean, extremely explanatory version.

Two more seasons, two more chapters to fit the game, the show-in prestige, the gap to awarding with its own interpretations, loses television risks in nutrition audiences. Instead of embracing the uncertainty, instead of accepting the HBO instead of hugs on his leading and combinated edges, by nudging all the intended truths The last Season two adaptation has stopped being a creative work and has once created an effective and thought-provoking experience for a milky adaptation of Cellbent to make sense and feel for followers.

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