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The Last of Us

Developer: Naughty Dog Publisher: SCE
14 June 2013
The Last of Us - cover art
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4,016 Ratings / 12 Reviews
#112 All-time
#2 for 2013
20 years after a pandemic destroyed the United States, Joel gets the task of taking Ellie into a nation-wide mission to unveil a secret that can save humanity.
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Set in the post-apocalyptic United States, the smuggler Joel is tasked with escorting Ellie across the country to find a possible cure for the modern fungal plague that has nearly decimated the entire human race.
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Title
Un gioco passabile che collassa sotto il peso delle proprie ambizioni e del proprio marketing
Mi ricordo ancora abbastanza vivamente il momento in cui giocando a Last of Us ho guardato lo schermo a bocca aperta. Eravamo agli inizi, primo capitolo forse, al livello di difficoltà più alto possibile al primo giro, e stavo letteralmente di lato ad una guardia che aveva l'ordine di ammazzarmi a vista ma non mi vedeva. Lo sbigottimento non era di certo positivo. Non ho ancora capito come sia avvenuto ma di fatto questo è diventato quasi immediatamente il gioco simbolo di una console che ha avuto Metal Gear Solid 4 e Valkyria Chronicle ed ancora non mi capacito. Mi ricordo un altri due momenti abbastanza vivamente: il primo è un infetto che sbatte su di Ellie senza che nessuno dei due batta un ciglio ed il secondo è il nostro eroe che con il ventre perforato da mesi ed infenzione annessa passa dal letto di morte alle botte dopo una cutscene a base di antibiotico scaduto.
Non male per un gioco il cui scopo è scortare Ellie e che è stato applaudito per la scrittura profonda.

Last of Us è così: una storia da episodio filler di Walking Dead, gameplay approssimativo e l'IA peggiore mai vista in un AAA degli ultimi 10 anni. Ah, ma c'è la graficona eh.
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marcothrasher 2019-07-14T04:22:05Z
2019-07-14T04:22:05Z
3.0
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Beyond the entertaining but gimmicky Hollywood doohickery of Heavy Rain and Until Dawn. This is a kind of post-cinematic storytelling where texture (both literal and figurative) and interactivity only embolden the foundations of character, mood, plot, setting and theme further. Calling it gaming's Citizen Kane moment is not only idiotic but extremely reductive.
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she_esh 2016-04-03T10:55:35Z
2016-04-03T10:55:35Z
4.5
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Coming back to the game after beating it for the first time in 2016, I'm pleased to say that it still holds up remarkably in terms of story, score and visuals (it is a remake, to be fair). The only grievance I could have with it is that it's a shame they haven't ported over the crawling from the sequel.
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rened22 2023-11-01T16:01:52Z
2023-11-01T16:01:52Z
5.0
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Oh, how I loathe The Last of Us. Harsh words for a game that I just played for the first time ever which is also considered to be a shining exemplar for the gaming medium, I realize, but I stand firmly on my negative stance with full conviction. I am of the vocal minority of gamers who left The Last of Us feeling cold, distant, and underwhelmed; followed up by pangs of disgust and confusion at the fact that the general critical consensus did not vindicate our lukewarm experience. It’s not a matter of failing to understand the appeal of The Last of Us because the game is a post-modern slew of radical innovation in gaming narrative. We fully understand why The Last of Us is as well-regarded as it is, and the thought of its sweeping acclaim makes our collective blood boil over and bubble like molten lava. However, I need to clarify that the animosity for The Last of Us does not stem from the public blindly celebrating an objectively flawed game. I fully trusted that The Last of Us was a competent and agreeable experience before playing it, because the game’s industry wouldn’t be showering it with almost unanimous accolades if it faltered on that aspect. I don’t harbor a contempt for The Last of Us because the game is a disastrous abomination in interactive media, but for how its massive success and messianic status are indicative of a prevailing issue in the modern gaming climate.

Why does this so-called “masterpiece” that has received an outstanding flux of adulation over the past decade inspire such passionate feelings of rancor in me? Well, I don’t mean to come off like a snob (as usual) but it’s because I’m a gamer who likes playing video games. I’ve expressed my relative discontent with the seventh generation of gaming from roughly 2007-2013 countless times before, for its an era synonymous with video games using their graphical and mechanical advancements to compete with the film industry. Many of the era-defining titles during this generation trimmed that dividing line between the two mediums to the point of hanging by a flimsy little thread of discernibility. It almost seemed like gaming was gallivanting around in film’s skin, reaping the praises the older visual medium was once and should ideally still be garnering until gaming shut film out of existence like a shapeshifting cosmic entity. The film industry theoretically shouldn’t worry about gaming’s growing ubiquity in the entertainment landscape, for both mediums satisfy two different artistic itches with their distinct meritorious strengths. However, upon seeing the success of The Last of Us and other games of its ilk that have achieved great praise emulating film’s cinematic properties, I wouldn’t blame the film industry for raising a concerned, suspicious eyebrow one bit. Sony subsidiary developer Naughty Dog, a studio whose previous works molded my love for the gaming medium (Jak and Daxter plus Crash Bandicoot to a lesser extent), redefined themselves as trailblazers in developing some of the generation’s most prestigious cinematic video games of that generation. Their Uncharted trilogy on the PS3 came first and was (unjustly) showered with high praise, but their 2013 game The Last of Us is a monolithic behemoth of laudation that transcends any and all credit given to any Uncharted title. My discrepancies pertaining to these cinematic video games are that they are like ordering a steak well-done; it’s still the same delicious piece of meat, but all of the substantial flavor and fleshy texture has been sizzled to oblivion. Why not eat something else at that point? I don’t judge someone if they want to order their steak in this fashion, but grievances arise when the majority of people claim that well-done steaks are the best way to cook a cow knowing full-well they’ve never bothered to try a bloodier strip out of the fear of contracting E. Coli and other food-related bacterial infections. What exacerbates my irritation is when the cultural mandarins feed off the sentiments of public opinion and meld the overrated title into the video game canon with the all time greats that are more exemplary of the medium’s actual merits. Either that or the success of The Last of Us affirms my theory that mainstream video game journalists are nothing but glorified tech reviewers, approaching games like pieces of hardware and assessing them on their objective performance. My (hypothetical) Apple Watch should operate adequately as advertised, but no stronger emotions other than content satisfaction will resonate with me after I’m finished toying with it for the day unlike a work of art. Actually, emotion is the crux of substance for The Last of Us, the facet of its cinematic performance that resonated with everyone who praised it and what surprisingly struck a chord with me once I gave The Last of Us a fighting chance.

At least The Last of Us knows what it’s doing from a cinematic standpoint, and this is evident from the game’s prologue. The events that promptly establish the conflict and tone for the duration of the game uses an “adrenaline hook,” a term of my own creation defined by reeling the viewer into the story with high-stakes action and suspense. The atmosphere is content in the Joel Miller household located in the rural outskirts of Austin, Texas, where his adolescent daughter, Sarah, gifts him a watch for his birthday, and he banters with her on how she scrounged up enough money to afford it. This humdrum tranquility is forever upset when Sarah gets a call from her uncle Tommy, Joe’s younger brother, who panics over the phone as if the world is about to end. Little do these characters know, his frantic mood is actually a precedent for the duration of the game. Puffy spores from mutated Cordyceps plants have sprouted all over the nation, and the malicious effects of the airborne toxin they excrete has transformed a substantial percentage of the population into wild, inhuman monsters who scream and growl as they scratch and bite their victims in a savage frenzy. The infection will also spread to those who have sustained physical lacerations from one of the monsters, which means that the premise of The Last of Us is Zombie Movie 101. Joel’s process of getting the hell out of dodge with his brother and daughter goes awry due to the chaos ensuing from the zombie pandemic all around, so they are forced to escape the plague on foot. This slower method doesn’t work either as Joel is accosted by a military SWAT member on the charge against the outbreak, opening fire on Joel and Sarah on orders from a higher-up. Tommy subdues the soldier and Joel is unscathed, but Sarah is fatally shot and dies in Joel’s crestfallen arms. We’ve seen this zombie outbreak premise catalyzed in this way several times before, especially in the era of the cultural zombie craze when The Last of Us was released. Still, the pacing that coincides with the dichotomy of normal peace with the explosion of zombie pandemonium makes the tragedy that ensues an effective gut punch.

We do not witness how Joel grieves with the enormous loss of his only child, for the screen turns black and transports us twenty years later after that fateful night. Joel is only marginally greyer, but his demeanor along with the lengthy timespan that has passed suggests that he’s far more grizzled. A facet of The Last of Us’s zombie outbreak premise is the grim, irrevocable tone of such an epidemic. The state of the world has only gotten worse since it began two decades prior, and now it is in apocalyptic ruin. Buildings erected to serve as mankind’s architectural backbone are now ghosts of the society they were meant to support, and now they’re lofty equipment pieces of a dilapidated playground where the remaining humans play deadly games of hide and go seek for survival. The roads are fractured by gaping fault lines and finding a car whose battery and engine haven’t been frazzled to the point of no return is like finding a unicorn. The parasitic spores have crumbled society as drastically as a collapsed Jenga tower, and the damage done is impossible to amend. The untouched wilderness in every cityscape's background is beautiful, but the sight is ultimately bogged down by the urban decay in the foreground. It would be an awe-striking scene where one could bask in the still melancholy if not for the constant screeches of the infected and the whizzing bullets from the military. I usually chastise the visual murkiness in Triple-A titles of the seventh generation, but The Last of Us is one exception where a depressed tint is apropos to the depleted landscape.

The epidemic has vastly spread throughout the world over the two-decade period, and so has our protagonist Joel. This statement is affirmed by the fact that Joel now resides thirty hours away from his hometown of Austin to Boston, or at least the remnants of the New England metropolis as it’s just as destitute as anywhere else in the country. We have no idea how Joel has survived for twenty years or how he ended up on the opposite latitudinal end of the USA, but the conversations between him and a woman he’s affiliated with named Tess grant us some context of his current situation. Joel is now a smuggler who sneaks in contraband and a bunch of other elicit objects of interest past military-sanctioned lines to trade for even more risque rewards. Their rightful shipment of guns has not been properly transmitted to them for compensation, so Joel and Tess venture outward to get to the bottom of this mishap.

This early section with Tess is the game’s tutorial mode where the player should become acclimated to Joel’s gameplay mechanics, and one of them is crafting. Because the capitalist economy collapsed when the outbreak escalated by proxy, obtaining goods and services is no longer a one-stop shop convenience. Everything in this post-apocalyptic world is scant, which means that it is wise to conserve every resource that Joel scrounges up from off the ground. Ammunition for the various firearms in Joel’s arsenal is a given, but vacant households and former civic centers also have nifty tools strewn about that are essential to any emergency survival scenario. Despite the usefulness on their own merits, it’s the makeshift mingling of these items via the crafting menu that is going to prove vital to Joel’s well-being. For example, the combination of duct tape and one leg of a pair of scissors melds together to form a shiv, which can be used to force open locked doors and quickly dispatch an enemy from behind. Certain chemical properties of sugar mixed with packs of fertilizer combine to create smoke bombs, and Joel can stick a blade or two to that concoction which makes a deadly nailbomb. Alcohol, rags, and a strip of tape can craft molotov cocktails, but those same materials are also what is needed to make medkits. Joel will occasionally find these to patch up his wounds on the field, but do not rely on seeking them out and focusing on burning the scourge to a crisp in a glassy, fiery inferno. Materials for all of these tools are all conspicuously found if the player even does the minimal amount of excavation off the beaten path, so Joel should never be unprepared to deal with the legions of enemies the apocalypse has created. It also helps that Joel comes about an eclectic smattering of firearms on his journey, ranging from the handgun and shotguns staples to a flamethrower and even a bow and arrow.

Of course, the amount of ammunition for any of Joel’s guns rarely surpasses single digit quantities, so the wisest approach is to dispatch enemies by being sneaky. What I didn’t expect from The Last of Us was the emphasis on stealth and survival gameplay. Similarly to Uncharted, factions of enemies will be crowded around a relatively open space on the lookout for any undesirables, namely the protagonist. Obviously, these armed men will proceed to open fire on Joel if they catch a glimpse of him, and the game will then transition into a cover-based third-person shooter. Unlike Nathan Drake who exists in a Naughty Dog depiction of real-world modernity (albeit as a rambunctious action-adventure flick) where ammo is plentiful, the deprived Joel must make every bullet count, and the sparse amount of them is sometimes not enough firepower. This is probably because I set the game to “hard” difficulty after learning from playing four Uncharted games that Naughty Dog downscales the “normal” difficulty for noobs, but shooting a man between the eyes will somehow not stop him dead in his tracks. Therefore, using the element of surprise is paramount to survival. Years of evading the horrors of the post-apocalypse have sharpened Joel’s senses to the point of having sonar-like bat hearing, which is displayed as the player seeing silhouettes of enemies walking about while being obscured behind a wall. Using this to his advantage, Joel can tiptoe up to his target and either snap their necks in a sleeperhold or quickly stab them in the neck with shiv like disposing of a prison snitch. It should be noted that humans and infected should be approached differently, as humans have a keener sense of sight while the infected rely mostly on sound. The creepy, ravenous “clickers” and the disgusting, apex-of-the-infection “bloaters” have been rendered completely blind by their advanced affliction, so Joel can quietly waltz past them and save his resources for more observant foes. It should also be noted that Joel is rather vulnerable when he’s in the spotlight of conflict because his aim with any gun is shakier than a blender and he reloads his gun like old people fuck. On the spectrum of the survival horror protagonist, from the kickass boulder punchers from Resident Evil to the hapless schmucks from Silent Hill, Joel ranks somewhere in the middle. Because Joel’s battle prowess is confined by inherently human capabilities, it’s best to put some consideration to any conflict.

For the rinse and repeat nature of the enemy encounters, they are all refreshing juxtaposed with the other gameplay mechanics on the field. I’m not implying that the repetitive combat becomes invigorating once again after a prolonged break, but only because traveling across the shattered American plains is mind-numbing. Without the breaks of action in between, I’d definitively umbrella The Last of Us in the category of “walking simulator” because that's a clear estimation of the gameplay. The Last of Us forgoes the parkour platforming found in Uncharted, for Joel is an emaciated middle-aged man with crippling joint pains. Puzzles are also omitted because they wouldn’t fit the rationale of the once-bustling city streets as opposed to encountering these thinking challenges while spelunking in the arcane crypts as Nathan Drake. Occasionally, Joel will need to cross a gap or reach a high ledge which requires some semblance of thought to proceed, but it simply boils down to grabbing a nearby ladder or a portable dumpster as a solution to every obstacle. Sounds riveting, doesn’t it? Truthfully, if these sections required any more effort from the player, the game would probably risk alienating the broad audience it desperately wants to cater to. However, I still fail to understand why anyone, experienced with video games or not, would be enthralled by gameplay so effortlessly simplistic. For a gamer, it’s naturally equivalent to watching grass grow but even for someone who doesn’t normally play video games who ideally wouldn’t be turned off by the simplicity, why wouldn’t they just watch a film? Why would they seek an alternative visual medium if the differences are only minimal? Is the notion of an interactive film really that novel? The Last of Us skates by offering only the absolute bare essentials of gameplay mechanics, and it’s the source of my core discrepancy with the game’s overwhelming glory. One could argue that the hiking trail that is The Last of Us’s gameplay is intentionally serene and the player is intended to immerse themselves in the tranquility but if this were the case, why would the game constantly interrupt that stillness with barrages of monsters and military men? Naughty Dog has shaved the gameplay beard down to total nakedness, and the stubbles it has left behind hardly constitutes facial hair.

Actually, I have a definitive explanation as to why The Last of Us gets away with its facile gameplay mechanics, and the reason is why I came to tolerate a game where all I was accomplishing was pressing the analog stick upward with little instances of deviation. While I was moving Joel around the American wasteland, what kept me from utter boredom was the character interactions that were progressing The Last of Us’s narrative. My precognition on The Last of Us’s mechanics was affirmed to be correct, but what I didn’t count on was being enraptured by the story that the gameplay was flimsily supporting. With this, I understood the appeal of The Last of Us and why it is widely commended.

The overarching task assigned to Joe on the streets of Boston is to trade a special package to the Firefly resistance group for the misplaced shipment of guns. What is this vital piece of contraband? A fourteen-year-old girl named Ellie who is well acquainted with Marlene, the commander in chief of the bug-themed militia Joel and Tess are trying to appease. What is so special about this adolescent girl? Well, she’s been bitten by an infected and hasn’t succumbed to the damning effects usually associated with spreading a biological scourge and only sustains a ghastly rash on her right arm. Marlene believes that her incredible immunity is the key to discovering a vaccine for the virus, so it is of great importance that Joel escorts her to the headquarters of her group unscathed to research her and conduct surgery if needed. The only problem is that the Firefly’s place of operations is at least two time zones away from Boston, so Joel must acclimatize himself to having a teenage girl in close proximity to him for two-thousand miles, traveling mostly on foot. Do not fret, for Marlene dumping Ellie off on Joel is not an instance of the game pulling the comfortable wool rug out from under the player, igniting a harrowing escort mission like the second half of Silent Hill 4. Ellie was born into societal devastation and madness, so she’s perfectly accustomed to dealing with the products of the plague despite her age. She’s invulnerable to all enemy fire and feral zombie gnashing, and even chips in with giving Joel items and ammunition from time to time.

While Ellie does not annoy or inconvenience the player at any point, the same cannot be said for Joel. He’s not all that enthralled by the prospect of delivering this girl to the other side of the country via a process that’s slower than snail mail, as one could reasonably imagine. Given that he’s an all-American, red-blooded male cut from the same masculine cloth as Ron Swanson and she’s a vulgar and excitable young lady who is young enough to be his daughter and then some, their personalities don’t quite mesh. However, this dichotomy between them is the basis of their chemistry as characters. Joel is as stern with Ellie as he would be with Sarah in this situation, although it’s difficult to say whether or not Sarah would’ve been as defiant with Joel’s wishes and demands as Ellie is. One altercation between them gets so heated that Joel has to explicitly state that Ellie is not his daughter, alarming the player into thinking that Joel would commit a heinous act against Ellie as opposed to a young girl he has an unconditional love for. When they bicker, the dramatic tension is palpable, but it just makes the lighthearted moments between them like driving out of Boston in a car obtained from the insufferably churlish smuggler Bill and Ellie curiously asking Joel about the times before the epidemic all the sweeter. They’ve got a long way to go together, so they’ve got to get along at some points to survive not only the hazards of the fallout, but each other as well. Also, the voice actors deliver Joel and Ellie’s lines fabulously.

Eventually, as one would anticipate from Joel and Ellie’s relationship dynamic, she starts becoming his surrogate Sarah. After the aforementioned tense pivotal scene, Joel ultimately doesn’t dump Ellie off as his brother Tommy’s responsibility and decides to finish what he started. Once making this decision, his rapport with Ellie improves as she no longer is treated like an annoying burden. While their relationship has delightfully improved, Joel getting impaled on a piece of fallen railing after a scuffle on the campus of the fictional University of Eastern Colorado seems like a turning point where Joel has been prematurely erased from the Ellie escapade equation. This change seems dreadfully concrete when the “Winter” chapter begins and Ellie is hunting for food in a snowy lakeshore forest by herself. During this task, she comes across two scavengers named David and James, and fights off a hoard of infected with the former of the two men. While David initially seems friendly like he’s going to jump in Joel’s shoes as Ellie’s protector, he starts antagonizing Ellie once he reveals himself to be the leader of the group that attacked her and Joel at the university and he’s out for retribution against them. His group are also cannibals, which heightens the suspense that Ellie is in grave danger. Fortunately for Ellie and the narrative, Joel is resting his stitched wounds on a mattress on the cold basement floor of a safehouse. Even though his condition is bad, the notion that Ellie is in danger prompts him to spring into action in the frigid haze of a Colorado winter with David’s rabid cannibal goons everywhere. Like George Romero’s Day of the Dead, The Last of Us implies that in a hectic world full of monsters, the humans are still the most monstrous creatures of all, conveyed through Ellie’s diner duel with David where he’s shed the polite facade and has fully embraced his true maniacal, sadistic nature. When Joel reconvenes with Ellie after she is traumatized by what she just experienced with David, he wraps his arms around her like a big cuddly bear and calls her “baby girl.” It was at that moment when Ellie was no longer being taken care of by Joel out of obligation, but by pure affection. The end of this hair-raising chapter was when I became totally invested with the characters and their story.

The “humans are bastards” theme is but a slight motif across The Last of Us. The game’s core theme that I have deduced is preservation in dire circumstances and how it conflicts with the greater good. Throughout the game, many of the human characters have had to sacrifice what they cherished even if the result is soul crushing. Tess, Joel’s original partner, doesn’t want to reveal her new infection and only does when Ellie exposes her. As a result, she lets herself get gunned down by the pursuing military before the infection takes over her brain. The African-American brother duo of Henry and Sam who partner up with Joel and Ellie when they’re stranded in Pittsburgh share a bond tighter than knotted rope. Yet, when Sam is infected and starts attacking Ellie, Henry shoots his little brother square in the head, devastatingly killing himself immediately afterwards not being able to cope with what he had to do. But the point is, he still did it because he knew it was the correct course of action. It seems like the only way to prevent oneself from being a bastard in times of zero hope is to improve the future which boosts humanity’s morale. This is a moment of clarity that every moral character in The Last of Us eventually comes to. One would expect Joel to follow this altruistic pattern considering he’s the game’s protagonist, right? After finally locating the Fireflies in Salt Lake City and embracing his father-daughter dynamic with Ellie, Joel is an eager beaver prepared to finish the mission and spend his days spending time with Ellie in his brother’s fortress in Wyoming. His twenty-year trauma that he thinks has been healed through Ellie is dreadfully tested when he learns that Ellie’s operation to create that vaccine will kill her. Unable to bear the pain of losing her like he lost Sarah, he breaks through the facility's defenses and carries an unconscious Ellie out of the operating room, paralleling the opening sequence with Sarah. Marlene tells Joel that dying for a noble cause would be Ellie’s wish, and she’s not bullshitting him. Still, Joel fully knows this and murders her for getting in the way of his wishes. With an awakened Ellie expressing feelings of unease of not going through with her destiny, Joel feeds her a line of lies to assuage her concerns, even if it’s really just gaslighting for his own benefit. The fact that this was Joel’s decision is not surprising. He’s been through twenty years of hell, and it all started when he lost the most important person in his life at the very start of it. He even gets the impression that trauma is a dick-measuring contest where nothing anyone else has experienced in a barren world synonymous with loss even compares to what he was forced to endure. What is surprising is how the narrative has made us all disgusted and ashamed of the man who we’ve been rooting for the entire game, almost shifting into the game’s core antagonist for committing the most deleterious act of self-preservation. Yet, while taking the honestly sorrowful events of his past into consideration, he’s still a sympathetic character, albeit garnering pity rather than genuine sympathy. I was appalled.


If I am to be so bold, I declare that The Last of Us is the ultimate Uncle Tom in gaming. The Last of Us sheds a sizable chunk of its innate video game makeup to please the so-called high arbiters of art, embarrassed at how it will be perceived by them if it flaunts its true nature. Because The Last of Us goes down smoother than strawberry yogurt, it gets a pass from the snooty cultural elite as “one of the good ones.” It gets the privilege of being housed with the Hollywood films, but they will never accept it as one of their kind no matter how hard it tries. How do I know this? One of the various kernels of The Last of Us’s success is a television series, a faithful adaptation of its video game source material. Google the title of the game and you’ll get nothing but the TV show until the fifth or sixth result, even though it aired the year I’m writing this review and the game is a decade old at the point. Isn’t this further proof how attempting to fraternize with film as a “degenerate” piece of media is only doing harm to gaming instead of helping it reach a standard of mass acceptance? Considering how the gameplay of The Last of Us is shallow and tedious, perhaps the exquisite story it presents is better off as a TV series. Still, there are video games that achieve strides in artistic innovation that are far more deserving of a patron saint status for the medium even if they aren’t as well-known by the public, even some of The Last of Us’s seventh-generation contemporaries. After all I’ve said, I still can’t believe that I’m curious to see what unfolds in the sequel. Perhaps I’ll watch someone play it on the internet instead of experiencing it firsthand, kind of like a television show.
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Erockthestrange 2023-10-23T20:28:11Z
2023-10-23T20:28:11Z
6.0
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Masterpiece
It's a well-deserved masterpiece,a perfect combination of performance,gameplay and narrative.
Compared with the drama version,the emotion of the story created through blank space is more subtle and undiminished.
TLOU proofs that cinematic games are undoubtedly a feasible route.On this route,I think it is not only better than Detroit but also better than games such as Death Stranding.
Despite any negative opinions, it is important for Sony to remain in existence. I really want to play part 2, make a wish and go out and pick up a PS5.
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HeeHippie128 2023-06-25T14:31:46Z
2023-06-25T14:31:46Z
4.5
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I played the PS4 remaster of this game after watching the show; I'd never played it before then. It is definitely one of the best examples of well-written interpersonal relationships in a triple A game, be that between Joel and Ellie, other characters, or just through the 'artifact' notes left behind.

I've little complaints with the core gameplay. The map design for each section is very detailed and gets increasingly more complex. While the game does reward exploration fairly well, some collectibles have no functionality beyond being an item to collect, which I believe was a common game sin for the time. It's not the best feeling to find a very secluded spot only to pick up a pendant or a comic book instead of a training manual or crafting resources.

For the NPCs, the pathfinding of friendlies felt off at times, and I have this hunch sometimes the line of sight of enemies was not entirely accurate, but neither of those were total hampers to my enjoyment. The main fun of the game besides the story would be the exploration and resource management; you will not always have enough ammo or tools to get through a big fight. This becomes less of a problem especially for Joel towards the end if you've been exploring well and upgrading your weapons and stats. All in all, I would recommend the game if anyone still hasn't gotten around to it like me.
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mazarin 2023-03-20T19:08:08Z
2023-03-20T19:08:08Z
4.0
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Catalog

L9Nio The Last of Us 2024-03-27T16:13:34Z
2024-03-27T16:13:34Z
3.5
In collection Want to buy Used to own  
FirstMate The Last of Us 2024-03-27T16:11:48Z
2024-03-27T16:11:48Z
5.0
4
In collection Want to buy Used to own  
clough11 The Last of Us 2024-03-27T12:21:29Z
2024-03-27T12:21:29Z
In collection Want to buy Used to own  
possayy The Last of Us 2024-03-27T05:28:32Z
2024-03-27T05:28:32Z
3.0
In collection Want to buy Used to own  
OffModel The Last of Us 2024-03-26T16:33:24Z
2024-03-26T16:33:24Z
3.0
In collection Want to buy Used to own  
thepardunk The Last of Us 2024-03-26T16:27:13Z
2024-03-26T16:27:13Z
In collection Want to buy Used to own  
Lilith_01 The Last of Us 2024-03-26T01:34:56Z
2024-03-26T01:34:56Z
4.5
In collection Want to buy Used to own  
Diertz The Last of Us 2024-03-25T10:51:10Z
2024-03-25T10:51:10Z
3.5
1
In collection Want to buy Used to own  
Spucclah The Last of Us 2024-03-24T02:49:33Z
2024-03-24T02:49:33Z
4.0
1
In collection Want to buy Used to own  
LucasLikesMusic The Last of Us 2024-03-23T12:15:30Z
2024-03-23T12:15:30Z
5.0
In collection Want to buy Used to own  
dotnds The Last of Us 2024-03-22T19:35:28Z
2024-03-22T19:35:28Z
3.0
In collection Want to buy Used to own  
svaigulys The Last of Us 2024-03-21T00:03:24Z
2024-03-21T00:03:24Z
4.0
1
In collection Want to buy Used to own  
Content rating
ESRB: M
Player modes
1-8 players
Media
1x Blu-ray
Multiplayer modes
Deathmatch / FFA, Team play
Multiplayer options
Online
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Comments

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  • Previous comments (105) Loading...
  • ssguiss 2024-01-05 03:50:30.470669+00
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  • blendernoob64 2024-01-09 06:19:27.047487+00
    I give the Last of Us Part 1 PC Port a C+. Many features in the port are really freaking cool and I wish they were in more PC ports. Playing The Last of Us with a mouse and Keyboard as well makes the gameplay way more fast-paced and snappy. But the performance is still not ideal. My 3080 is still struggling with it at certain points.
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  • idkpokeit 2024-01-17 19:29:52.699679+00
    Kinda embarrassing how this is rated above a 4
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  • jackfennimore 2024-01-23 19:14:34.246127+00
    meta comment: Should TLoU Part I get it's own release page? it is a remake, rather than a remaster
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  • orhunbalkaya 2024-01-30 19:44:08.771415+00
    Because of shitty performance on my PC, I actually enjoyed it more because the encounters on hard are much more challenging when you play them in unstable fps.
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  • Marshyyy 2024-01-31 13:51:32.886179+00
    It is good. But man some of the parts are drawn out. The whole Tommy/Joel part where the game turns to Uncharted for 30 minutes is so boring.

    The whole Robert fiasco at the start of the game is also dull for me. The best parts of the game are where it is you and Ellie, scavenging through old coffee shops and libraries and the dialogue in those moments is great.
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  • DoradoMusic 2024-02-22 01:33:15.919665+00
    Kinda embarrassing how this is rated above a 4 [2]
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