[Review] Tales of Vesperia: The Brightest Star in the Night Sky Doesn't Shine as Strongly as I'd Hoped

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Warning: Contains allusive/thematic spoilers.

The day is finally here! Tales of Vesperia: Definitive Edition, containing content previously unseen outside of Japan, has finally been released, so that us English speakers and/or non-PS3 owners can experience the new storylines, characters and features for the first time! Alas, this isn’t a post about that, firstly because this post is going up day-of-release and I haven’t had a chance to play it yet, and secondly because I am writing this from outside of the country and won’t be united with my pre-ordered copy until I return next week, RIP.

Therefore, this post is written from the point of view of someone who has only played the Xbox 360 version. I will try to keep it brief for the sake of not spoiling newcomers to the game, and also hopefully not to complain about things that are fixed (or broken??) in the Definitive Edition.

Tales of Vesperia is a game in the long-running “Tales of” franchise from Bandai Namco, the first one in HD, originally released for the Xbox 360 in 2008, later receiving an updated PS3 version in 2009, exclusive to Japan. Like many older fans, my introduction to the Tales of series was with Tales of Symphonia for the Gamecube, and I fell in love hard; I was therefore extremely excited to play the next games, but unfortunately, I never owned the platforms for them until very recently. Along with Tales of the Abyss, Vesperia and Symphonia form the “holy trinity” of games in the series almost everyone loves; find a Tales fan and ask them their favourite game, and the answer will likely be one of those three (note: I’ve heard very good things about Graces and the two Xillia games, but unfortunately haven’t had a chance to judge them firsthand myself). The three games, while not directly related in terms of plot or setting, share a lot of things in common, as they had mostly the same creative team, often referred to as “Team Symphonia” (as opposed to “Team Destiny” which made most other games since then). One notable difference is the scenario writer, Takashi Hasegawa, while Symphonia and Abyss were written by Takumi Miyajima.

The Tales series is known for its reliance on anime and JRPG tropes, often used in a way that plays off cliché expectations only to then layer plot twists and character development and produce a much deeper experience than what would be expected from the get-go. When used effectively, these methods produce a story that is both fun and emotionally challenging. Tales of Vesperia is no different, offering a cast of archetypes that should be highly recognizable to those familiar with the genre, and yet this may be best set of characters in a Tales game. The party has impressively good banter, chemistry and dynamics and several scenes had me laughing out loud or yelling, and I never had a bad time watching their relationships unfold.

Unfortunately, the game spares little time fleshing out backstories or learning more about each individual character outside of the main plot. By the end, I was left wanting, as the cast was so endearing and vibrant, yet I knew next to nothing about them aside from what had been relevant to show onscreen. I longed for more information about where they had come from and how they had gotten where they were, but it is a testament to the strength of the character writing that their storylines reached a satisfying conclusion despite this relative sparse amount of information about them. “Backstory is not story”, Craig McCracken and Frank Angones were fond of saying to fans of Wander Over Yonder, but for a game with the size and scope of a 60-hour JRPG, not providing that window of information feels like a hole in the worldbuilding.

Mechanically, Vesperia builds on the model established by Symphonia and refined in Abyss, where combat takes place in a 3D arena and the player can run around, hit enemies and rack up combos fighting game style (the franchise calls this “Linear Motion Battle System”). While Symphonia was in 3D, it restricted the player to a single side-to-side corridor of action. Abyss added the ability to run around in 3D space by holding down a button, a feature Vesperia also has. This makes combat easier and more fun, as nothing is quite as satisfying as avoiding an attack and then running around and hitting the enemy from behind. And, as the game allows up to four players controlling different party members, and I have a player 2 (shoutout to my roommate Opal), Vesperia’s system is the most well-suited to multiplayer. If nothing else, I never felt lost while on the battlefield yelling for backup. The one major flaw is that boss fights come with massive difficulty spikes and I often had to grind and formulate careful battle plans with Opal just to not get continuously massacred by bosses.

Storywise, Vesperia starts off very strongly, sort of peters out near the middle, and then the third act falls apart. At first the theme is anti-authority, with a protagonist who grew up in the slums, neglected by nobles, who became a knight and then quit out of disillusionment when it turned out all they did was squabble about politics, and the inciting incident and early driver of the plot is his quest to “fix the plumbing” as a popular Tumblr text post put it. It’s clear Yuri has all the reason in the world to not trust authority and he even goes full vigilante against unjust abuse of power, but while this thread seems like the most important theme in the story, after a while so many other elements come into play it ends up lost and doesn’t really make much of an appearance except to highlight the differences between Yuri and Flynn’s approaches to life and how they prefer to help people. On its own it’s a compelling idea, but it never gets the follow-through it deserves, and my expectations were certainly subverted—but in a bad way.

It’s hard to talk about the third act without spoilers so I will probably come back to it for a proper analysis at a later date, but its ultimate message was already kind of limp in 2008 and is even more laughable now. For a game whose initial premise was so strongly against authority, the ultimate resolution of the main conflict reads as incredibly daft in light of just about everything that is happening in politics at the moment. There’s a very strong environmental allegory and the comparisons to climate change are not subtle, but the writers probably bit off more than they could chew because realistically trying to solve this problem in the time the story allotted would have been next to impossible; I still would have hoped the implications of the given solution had been actually explored instead of settling for an “oh well, guess everything’s been fixed now”.

I’m being harsh about the plot because to me Vesperia has a lot of wasted potential. Don’t get me wrong: I do love this game. It is in fact up there with the holy trinity as far as my opinions of the series go, but it lands in third place out of the three because it just fails to live up to what its first half promises about the world it created. To put it bluntly, if the story had just ended at the conclusion of the second act, it would have been much stronger. That the game continues for another 20 hours on a completely different track with an unsatisfying, unrealistic conclusion is a huge shame because it brings down what could have been a real masterpiece of tropey anime JRPG narratives. I live for that stuff, there’s a reason I want to play every Tales game, but that’s what makes this letdown the most disappointing. At least the characters themselves get good conclusions; it is unfortunate I can’t say the same for the main plot.

Despite all this I think Vesperia is a worthwhile experience, and one of my favourite things about is its aesthetic sense. Every location is immersive, polished, and the pinnacle of what I want to see in a videogame, to the point I dream of Symphonia and Abyss remakes made in the same style (and every other game in the series, to be honest, but that seems unlikely with the direction it’s taken since then). I genuinely cared about the party and I wanted to see them succeed and I was ultimately happy that they did even if I did roll my eyes a lot. The combat was so satisfying and so fun to play with a player 2 it makes me twice as mad that Zestiria’s camera goes completely wild during multiplayer and prevents me from joining in. I should note that for someone who plays as many games as I do I am notoriously terrible at them so I heavily favour story over mechanics, but Vesperia is a game that reminds me that engaging gameplay can make a huge difference. Yeah, I suck, but at least I’m having fun while sucking. That’s more than I can say for a lot of games.

If you like JRPGs, games that let you run around and hit things, or fun and intriguing character dynamics, you’ll probably like Tales of Vesperia. If you’re looking for a coherent story from start to finish, you’ll probably disappointed, but there’s just enough there to keep you engrossed until the end. Overall, Vesperia is solid, and the parts it fumbles aren’t bad enough to ruin the whole thing, but hopefully the extra content in Definitive Edition helps to smooth it out; I’ll have to find that out for myself.

Aside from how it messes up the voice acting this time around. Oh, Bamco.

DEADBOLT Q&A

I tried to answer every question as honestly as I could, so I hope this is a good read. If your question isn’t there, it’s either identical to another one asked or joined together with another question. Cheers!

Q: In total, how much time does the campaign of Deadbolt span? It’s hard to tell, what with it being infinite nighttime and all.

A: I would imagine a month-ish. It is implied that the Candles are doing some sort of investigative work between missions, which would surely take some time. Q: Did you have any major inspirations for the visual design of DEADBOLT? A: John Wick is obviously the biggest one! Q: What would hopoo do if someone made a game completely based and inspired from Deadbolt and its… Concept? (with permission and not) A: There’s no way DEADBOLT is that unique in settings or thematics – ultimately, you know what’s right and what’s wrong when you’re inspired by a work, and so will everyone else! If you feel obligated to ask for permission, maybe you’re not exploring enough original ideas? Q: When will we get modding? if so could we get a simplified modding kit? Any plans for updating dedbort, even just the map editor? Feature for adding custom sprites, rotation tool, copypasta tool, just to name a few… A: So the thing with that is that the map editor is only half the equation – while the map editor may be writing stuff to files, it also has to be interpreted on the end by the DEADBOLT game itself. Therefore, adding features that aren’t supported in engine simply won’t work – it won’t know what youre talking about. While rotation is supported in the engine, it doesn’t know how to read that from the files, etc. I also am trying to avoid any legacy issues where old maps are required for old versions of DEADBOLT, or vice versa. Q: When is deadbolt 2 coming with werewolves and mummies A: Werewolves aren’t undead you dingus. But mummies could be cool.

Q: Will the stuff that came with the release of Deadbolt on Play Station, will be added on PC? A: Nope, that was sorta our deal-sweetener for getting on the Sony consoles. Q: Will we ever see expansion levels for Deadbolt or would we get Deadbolt 2 instead? A: DEADBOLT 2 maybe sometime

Q: Does Ibzan is gay? A: I haven’t really thought of the sexual orientation of any of the characters, and I definitely don’t want to pull a JK Rowling and retroactively assign them. So in terms of canon, that just hasn’t been explored.

Q: Would you prefer deadbolt 2 to be in 3d and 2d? Would you do a sequel? A: DEADBOLT is probably the narrowest design space I’ve worked with – there’s no dodging, insta death, insta travel attacks. By the end I felt very stretched out in terms of enemy design, and for that alone I’d think 3D. But hey, I may also just hate 3D by the end of RoR2 so who knows :^). I’d love to do a sequel one day, most likely from the perspective of Ibzan. But who knows! Q: Did Ibzan want to kill the Fire, or just try to reconcile with it? A: He just wanted to talk – but who knows what would’ve happened after the Fireplace rejected him? Q: Would you be interested in going back to the world of deadbolt sometime in the future? I remember hearing somewhere a 3D concept would be interesting to work on. A: I wish I was talented or driven enough to write comics for it – I think DEADBOLT is more about the stories of individuals, compared to RoR who is a story of the universe. I wrote the Cassette Tapes to reflect that. Q: Looking back, is there anything you’d change about Deadbolt? A: Hmmm… I just wish I somehow could expand more on the lore and gangs, and what their goals were. Gameplay-wise, it was a tad too short. I liked doing a few standard stages, and then a mix-up stage (sniper, trap, boss, etc) – maybe we could’ve fit in a few more rotations. Q: What’s your favourite loadout? A: Death/Taxes and Flashbang, like a scrub. Q: Would you ever be interested in restarting the asset suggestion thread A: I consider DEADBOLT to be done – as a 2 (now 3!) man team, we financially can’t do the games-as-a-service thing like most big companies can for smaller games like DEADBOLT. I also intended DEADBOLT to be a one-and-done thing as a contrast for Risk of Rain, which we updated for years after release.

=CONTROVERSIAL OPINION ALERT= I personally also think that EVERY game getting a bunch of DLCS and updates and patches for a long time is, in a way, exhausting as a player. I think it makes it hard to feel satisfied when you finished a game and it’s over and you feel completed in the journey, knowing it’s not ~technically~ over until the devs stop patching. I think it’s great for some games (mostly multiplayer-based ones), but some games you just gotta let… finish, on a good note. Semi-open ended endings are always unsatisfying, in my opinion, and so recently it just feels like you don’t ever complete a game. …On the flip side, we are planning on doing lots of post-launch support for RoR2 because it’s actually inline with our design goals, so don’t fret! Q: Will bugs like Scythe not having a cover sprite or some enemies not having a falling sprite (which causes the game to crash) be fixed? A: Which enemies have been missing a falling sprite? They should be resorting to idle, not crashing. Bosses? Q: Just wanted to say, you guys are my favorite games studio, hands down. Now for the question: Now that the Reaper has completed his task and is allowed to rest, what’s next? Is the Fireplace going to keep him resting for a while? Does our MC have another task to accomplish? A: The Fireplace has never let a reaper “rest” before - the reason he is allowed to rest is because Ibzan never got to, and the Fireplace is trying something different with you. This is unexplored territory for the both of them – presumably he just pets his cat and gets bored before getting back to work. Q: What happens to everyone else in the afterlife? A: People who aren’t in the Place? Who knows, and who cares about boring happy afterlife 😊 Q: I had a question about the lore. There’s mentions of places outside the city, across the river Styx. What are they and what are they like? A: The Styx connects the other realms together, including (presumably) wherever the demons came from. This is explored lightly in one of the demon cassette tapes. Q: Will you ever expand more on the world of deadbolt or are you 100% done with it at this point? A: Nope definitely not done, really wanna explore more one day Q: What’s your office address? For post and stuff, maybe I want to send you a box full of A4 sheets of paper with a thousand hoopters on each. A: Maybe this is the paranoia in me but I’m not comfortable posting my address online – you can just tweet it at me a thousand times instead Q: Did Ibzan think the flames would give warmth to the Dredged or was he just lying to them and using them for his own gain? A: He was lying to himself, but he did truly believe that this was going to work, because this (at the time, anyways) seemed like the only way out. Metaphor woawoawo Q: Could you add some sorta DEADBOLT reference into RoR2?  Will the Reaper be playable in Risk of Rain 2 as a bonus? A: Definitely references happening in some form, but playable might be stretchin’ it a bit, especially since it’d be taking up the slot of some more in-universe secret character. Q: How excited are for RoR2? A: Honestly very nervous for the reception, with very big shoes to fill as a sequel for RoR. I just hope people like it, and that we don’t get burnt on 3D because there’s so many possibilities in the future for our games in 3D. Q: How are the Demons born? We know they’re made in birthing chambers, but then is it just like humans or is there anything specific needed for a demon to be born f.e. skeletons>suicide, zombies>overdose, etc. A: Demons aren’t undead and don’t naturally exist in the Place, which is why they have to be smuggled over – they exist in whatever version of hell is in the DEADBOLT universe, and are natural denizens of the underworld. Q: was izban hot before he died? A: The hottest Q: do all the nightclubs canonically have chris c. as the dj A: Yes Q: I love Deadbolt very dearly and i’ve listened to its soundtrack (particularly “Now I Am Become Death”) more times than i can remember. What’s your favourite tune from Deadbolt ? A: Defunktorum or The Proverbial Dust Biters Q: In the Hardmode Cassette Tape it talked about a Reaper that wasn`t the current Reaper that we play as in the Game. Was this Reaper Izban? Since in the tape, he talked about the fireplace as his friend and that could be why he wanted to go back to the fireplace through the portal at the end of the game, to revisit his friend. A: Yes yes and yes. This was most heavily implied in Ibzan’s “home”, which parallel yours. Q: Will RoR2 still have opportunities to create silly messy builds like covering the screen in missiles or releasing an endless stream of Thqwibs? If so, how are you working to mitigate the performance impact of those crazy builds? A: Yep! Currently we have a system that detects the average particle count in a scene and slowly adds a chance non-important effects (like hitsparks or impacts) don’t ever spawn. This will at some point also involve turning off expensive effects and reducing particle LODs. Q: I really love the attention to detail to the characters, environment, aesthetics and gameplay mechanics. Its themes on the criminal underworld and the supernatural give a unique identity in a high-octane/stealth pixel action game I have not seen before. Additionally what prompted or inspired you to make DEADBOLT in the first place? A: DEADBOLT in its entirety was supposed to be not-Risk of Rain. It’s a gorey, violent, moody singleplayer puzzle-stealth game. We were just burnt out from the Risk of Rain experience, and we also wanted to flex our design muscles a bit and show that hey, we’re not just a one-trick pony of gamedevelopment :^) Q: I just played through this game on PS4/Vita over the weekend. Huge fan of Risk of Rain. Even bought it through Limited Run Games. So I had to pick up Deadbolt (Didn’t previously know you had made it either.) and I love it. Its a super solid experience. I’m not sure I have any questions about it. I guess I was curious if co-op multiplayer was ever considered in development? Keep up the great work. Can’t wait to see what you guys make next. A: Nope, because of the reasons above – we wanted a single player game, since RoR was a multiplayer one. Q: First of all, congratulations!! I really loved the game since came out, I bought it for my birthday, since risk of rain made me fell in love with all the pixel art in it, deadbolt didn’t disappointed me!! Everything in it I love it! Thanks for the game!! Now the question You already answered about how the skeletons or vampires came to be in that Place, how the vampires are killed by their lovers, but, how a reaper, becomes to be a reaper? I mean a candle said “I’ve never been so close to one” A: Originally, the reapers were actually supposed to be from suicides – if I remember right, the reaper when going down the stairs to the docks still has the hole in the back of his head in his sprite. Currently, it’s not explored how a reaper is made – I think a bit of mystery is always needed in making a believable universe J Q: Lorewise how many reapers are there total? Why are they incredibly fragile compared to the undead? What makes the reapers not undead? A: IIRC there were 4 fireplaces in the final stage, which was supposed to represent the way the fireplace was communicating to all reapers in the field. Q: Do you like turtles? How about corgis? A: Yes, and yes (although there’s way too many in Seattle now). Q: Did you have any idea Chris would break out a whole band’s worth of musicians for the soundtrack? His work was superb and the OST remains my absolute favorite to this day. A: DEADBOLT OST was actually done with many people – it must be in the credits somewhere! If I remember right, there is at least a drummer and a musician.

Thanks for all the questions, and happy hunting :)

hopoo

The Last of Us Part 2 review

The most common joke about the difficulty video games have reconciling their storytelling impulses with the violent action so many of them depend on revolves around the character Nathan Drake. Star of the Uncharted series, Drake is famed for his easygoing, flippant charm – yet over the course of a single game he will typically kill hundreds of people. They call him the smiling psychopath.

The Last of Us Part 2 review

Developer: Naughty Dog

Publisher: Sony

Platform: Reviewed on PS4 and PS4 Pro

Availability: Exclusive to PS4, released on 19th June.

The joke must have stung the Californian Sony studio Naughty Dog, Uncharted’s maker. In 2013 they started to grapple with its implications in The Last of Us, a moody post-apocalyptic thriller that upped the graphic brutality while seeking to frame it in the context of a desperate, cruel world, and also contrast it with the delicate bond developing between the protagonist, gruff smuggler Joel, and his cargo, a teen called Ellie.

Now The Last of Us has a sequel, and in that sequel the wrestling match between the game’s violent action and its thematic intentions has developed into a full-on, bareknuckle brawl. It is, perhaps for the first time in the history of big-budget action games, a fair match. It gets messy and problematic, and neither side comes out unscathed. But, by taking some big gambles, the developers land decisive blows that will send you reeling.

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This isn’t even all that The Last of Us Part 2 is attempting. This is a game about women – not about the female experience per se, but a game in which almost all the notable characters are women and in which they are not only shown exhibiting great capability and physical prowess, but also contending with dark impulses typically ascribed to men: trauma, obsession, rage and revenge. It is also a game featuring LGBTQ+ relationships and characters in a prominent but matter-of-fact way – it’s not a big deal, they are just there.

And it is doing all this, remember, while remaining very much a crowd-pleasing action spectacular in the Naughty Dog mould, with thrills and spills and scares, beauty and ruin and high adventure. It is a lot. Too much, really, and it is no surprise that this game gets away from its creators at times. (Yes, even the famously controlling Naughty Dog.) Not all of it works. Sometimes the tone veers into a depressing, distasteful nihilism. The characters’ motivations don’t always stack up. The cast is overstuffed and the subplots are often over- or undercooked. Some of its points are made with an almost laughable bluntness as it hurries on to its next big idea. At other times, it operates with rare subtlety and understatement. You will be halfway through the game before you understand what it’s actually doing and more than that before you really begin to feel its dread pull. Towards the very end, it is devastating.

The cast is great, but Ashley Johnson’s rawness, vulnerability and rage as Ellie is the standout performance.

It’s a very hard game to discuss without spoilers. I won’t share any specifics, but if you want to go in completely cold, it might be wise to stop reading.

The action is set four years after the events of The Last of Us, with intermittent flashbacks that fill us in on how the characters got from there to here. Joel and Ellie have settled in the self-sufficient community of Jackson, Wyoming. The awkwardness between them after Joel’s fateful actions at the end of the previous game seems to have widened into a rift. Ellie, less precocious and more defensive and spiky as a young adult, is on the verge of a relationship with a woman called Dina. In the aftermath of a snowstorm, something happens that sees Ellie and Dina set off for Seattle with revenge on their minds.

Seattle, where we spend the majority of the game’s runtime, is in bad shape. It’s in total ruins, partly flooded, and initially seems deserted but for pockets of infected, the grotesque fungal zombies that have brought society down. In fact, there’s a turf war raging here between two factions of survivors. The Washington Liberation Front, or Wolves, are a paramilitary organisation – a more warlike version of the first game’s Fireflies – that assumed control of the city from the government after a brutal uprising. They have a darkly charismatic leader called Isaac (a cameo by the magnetic actor Jeffrey Wright), and once we learn more about them, they paint a strikingly different picture of post-outbreak survivalism than the frontiersman stylings of the Jacksonites. The Seraphites, or Scars, are less well drawn, a cut-and-paste post-apocalytpic spooky cult that is never given a plausible reason for existing.

Once again, the score is by Gustavo Santaolalla and is excellent, pairing banjo ruminations with threatening electronic minimalism. There’s also a surprisingly touching musical cameo from a certain 80s pop hit.

On the warpath, Ellie inserts herself into this struggle and starts causing all sorts of havoc – but only after a lovely lull. When she and Dina first arrive in Seattle, the game’s remorseless linear momentum is briefly broken for a pocket of open-world exploration of the ruined downtown district (an evolution of a similar episode in Uncharted: The Lost Legacy). It’s a wonderfully atmospheric scene-setter. After this, we’re back on Naughty Dog’s beaten path for the rest of the game, although the environments are roomy and complex enough to allow for satisfying close exploration as you scavenge for supplies, as well as affording a great deal of flexibility when it comes to combat encounters.

It’s during combat that you’re most aware that you’re playing a sequel from one of the world’s most fastidious developers (albeit one that has seldom been known for the refinement of its gameplay mechanics). The careful iteration and professionalism of the design team are very evident. It retains The Last of Us’ lean, muscular set-up, in which scarcity of ammo and supplies constantly forces you to experiment. Some of the rougher edges have been knocked off, but not so many as to eradicate its essentially scrappy nature – panicky, desperate scrapes and unintended messy bloodbaths are very much part of the vibe.

So is stealth, which thanks to some mechanical lifts from Uncharted 4 and the addition of a prone stance is much more viable and satisfying to play; this is now a pretty well-sorted stealth game in its own right. Like any game in which death comes quickly, it can still frustrate, but a very clever smart autosave system keeps good pace with your progress and means you’ll seldom need to restart a whole encounter. (The whole game experience is unbelievably slick and seamless, even by Naughty Dog’s standards.) My chief complaint is that you spend more time battling humans than infected, and they’re actually the less interesting – as well as less scary – combatants to face.

Who knows why Naughty Dog really chose to break off development of Factions multiplayer, but we can be grateful in a way – entering a jolly deathmatch fray with these characters after playing the campaign would feel very off.

The violence is extremely graphic, uncomfortably so. It’s full of ugly flourishes, like the splattering sound of shotgun pellets ripping apart flesh, or the vicious flick that Ellie uses to slice open a neck as she performs a stealth kill. It can be sickening. Intentionally so? Surely. But I still can’t help but detect a sour, grubby note of gratification to it, particularly in the repetitive context of the combat. Sometimes it breaks your connection to Ellie in a way that doesn’t serve the game. Sometimes, in cutscenes, it’s just taken too far, more than is needed to leave an impact or make a point.

This is one reason why I initially suspected The Last of Us Part 2 of being too caught up in its own grim attitude, of just being highly polished misery porn. Another is that, with its attention divided between so many ambitious gambits, with an expanding cast of characters and with most of the action taking place over a matter of days, it doesn’t have the first game’s gentle but constant emotional core – that delicious slow thawing between Ellie and Joel, melting into love as you journey with them over the course of a year. (Ellie and Dina’s romance might have been that, but it doesn’t get the necessary screen time – admittedly for good reasons.) Without that warmth, that heart, it seems a bitter world to spend time in.

The guitar is fully playable using a thumbstick to choose chords and swipe of the trackpad to strum. It’s a sweet addition, although springing a sentimental country ballad on us in the first 10 minutes is perhaps a bit much.

I’m happy to report that my first impressions were wrong. Unfortunately, I can’t and shouldn’t fully explain why. I’ll limit myself to this: Druckmann and his team have a grand plan that rests on a radical structure for the game which isn’t initially apparent. Once you finally understand it, it’s still a slow burn, as the writers’ delicate character-building – the dialogue is wonderfully understated and naturalistic – needs time to do its work. So it isn’t until the game’s final stretches that it gathers its true power, as you approach a point that is all the more horrifying for its total inevitability.

It’s a huge roll of the dice from the developers, but it works, and the pay-off is almost indescribable. It would be too much to claim that you will never feel the same about video game violence again, but the shock is profound and discomfiting. It’s gut-wrenching stuff. There’s more to come as the game approaches an ending that is just as affecting and emotionally complex as its predecessor’s, if not, perhaps, as ambiguous.

The thing that really struck me – and pleasantly surprised me, coming as it does from a developer so transparently in love with the language of cinema – is that The Last of Us Part 2’s power is wholly unique to it being a video game. There is a special kind of empathy that develops between a player and a game protagonist that no other medium can reproduce. It’s this bond that Druckmann and his team have exploited to such devastating effect. It is a sad and timely reminder of the simultaneous importance and impossibility of living someone else’s experience. Play it, and listen.

from EnterGamingXP https://entergamingxp.com/2020/06/the-last-of-us-part-2-review/?utm_source=rss&utm_medium=rss&utm_campaign=the-last-of-us-part-2-review