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The second season of the last of us was defined by increasing pain, but the shortcomings highlight the narrative benefits of video games on TV.
After the first episode, I celebrated our initial changes in the second season of the game. Instead of reformulating one season to a large excess, this source lovers this time had to chew up beyond just a live modernity. How will the story work when Abi’s motivation is detected early? What is the importance of new characters such as generation? And why is Joel now the person who killed Eugene?
After the accelerated end, the desire for these changes has become the scenario of the classic monkey claw. For every positive (and there is a lot there is a lot), there was a strange or unprecedented option for the corner or lower – to the point that I now think this story is structurally and in its emotional influence, it simply works as if it is a video game.
Let’s start with positives. After some concern about whether Bella Ramsey could sell an older and more intimidated version than Eli, it was mostly neglected during Eli torture from Nora – for the sake of my money, the most effective, and horrific scene, of this season. The exhibition can do better in making Ramsey look larger (easy to forget a five -year jump) but the Ellie descent hit all the right notes and bitterness.
Elsewhere, Kaitlyn Dever puts a great impression like ABBY. Although there is a little time on the screen, Jesse, who is played by Young Mazino, works better here as a mirror of Elie’s deformed sense of morals.
The difficulty in photographing the latter is something that is clearly struggled with the show, and some changes in HBO adaptation range from positivity to confusion. In the end, the death of the pregnant woman is a cross victim to shoot at Elie with Owen instead of a toxic stab in the throat-a decision that helps Elie less than a monster that cannot be repaired in thirst for revenge.
This change to keep you alongside Eli, however, is undermined by options elsewhere. At the exhibition, it was expressed explicitly that she knows that Joel killed Abe’s father – a notice that was somewhat mysterious in the game.
This could have been leaving as a heartbreaking awareness of Elie, when you finally face Abe-calling as you discover that they are closed in the same cycle of hatred at the expense of their loved ones. But now Eli is still chasing Abe actively, killing her friends, despite the presence of this context. I do not like choosing the aspects between the revenge killers, but it does not require moral judgment to see less two buds here.
This decision may be the reason that the pivot flash between Joel and Eli, which comes at the end of the game and re -allocating its unworthy desire to take revenge, was pushed to a previous place. However, this choice has its own issues. Certainly, the audience may better understand Elie’s unbearable willingness to others at risk of revenge on Joel, but in terms of narrative transformations, this story does not remain large cards to play – unless the TV program has something new planned, for future seasons.
Among these isolated scenes, along with Joel’s more evil description, as a lie on Elie again (!) He killed Eugene before he got his final desire, there is a clinical in this season, which reduced some differences. We may have a more clear feeling of all the characters that are played, but it made the exhibition feel more popular as a result.
As such, the possibility of the third season focus on Abe’s story is not as attractive. The idea of ​​determining the axis of the show crew and focus over the entire season is interesting, as an extraordinary experience in the world of television, but I do not know the shocks or revelation you can offer now. We know Abe’s motives at first.
If the next season is accumulating to the theatrical confrontation with Eli, and if it is from Abe’s point of view, I am not convinced that the fans of TV will have the same patience to wait to find out what will happen after that. This axis was preserved in the game because the initial modernity was supported by the game of play itself, but when it depends on the narration to keep the momentum, the long -24 -clock rewind is a much harsh ton for the pace.
I am curious about how this season falls with people who are not familiar with games, but the shortcomings in the exhibition, from my point of view, represent the benefits of storytelling in video games on the non -interactive entertainment. Joel’s death strikes more difficult after you were fighting to stay in his shoes for pre -hours, while periodic violence topics strike a stronger tendon when guning the gun on all the enemies of the family.
The length of the last part of the United States 2 undermines these characteristics, which is far from perfection in general, but from a structural standpoint, the perspective turns you into the positions designed to make the players uncomfortable, especially in the battles between Eli and Abi.
When you learn Abe from the story, you do not want to lower it with a knife, or a button to strangle her throat. Each stabbing is a fell more important, which is a disturbing reward that looks unique to video games – a means where violence is rarely interrogated or used for any other purpose outside the unimportant excitement.
This is another magic of us Part 2 and TV adaptation, regardless of the amount of change or enhancement of the narration, these strengths cannot be repeated effectively. It is not necessarily necessary, but without these unique interactive qualities, the biggest challenge of the TV program is what it can offer instead. Based on this season, the only answer appears to be the modernity of the direct work itself.
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