The Last Of Us? I Hope Not!

Exceptional is a descriptive term enduringly attributed to stipulated characteristic and actions. For me though, such terminology is restrictive in its elaborate alleviations. It implies perfection, that something has reached the pinnacle and is unable to transcend to further escalating heights. I never believe in such conditions, there is always ample room for improvement especially in the methodical creation of game developing; aesthetic textures with improved clarification, reduced glitches, detailed stories etc. I am yet to play a game that handles every facet with perfectly concise directives…but “The Last Of Us” comes damn close! The game begins with the infection–already alleviated as an epidemic through television transmissions and newspaper reports, as we experience the events through the eyes of a child, as the general populace become steadily mutated by some form of parasite that provokes gross deformities and psychopathic antagonism. Although there is a vague alleviations to the cause, we are never given a definitive reason for the sudden outbreak. 20 years on and society has divided, with communities split by cynicism and nullified sense of mortality. Some residence reside in ravaged, though controlled environments where money is a deceased commodity, replaced by a currency of ration tokens. This prudently rustic totalitarian society where supplies, freedom as well as choice are slim and conscious rationality or disobedience is often punished with military recourse.

“Obstructions are common place. Just be careful of who made them?”

Though the totalitarian, post apocalyptic premise seems like a repetitive cliché, it is the only logical choice in the circumstances. Though it certainly shares distinctions with Cormac McCarthy’s novel “The Road”, and familiar correlations in terms of game-play mechanics and potent narrative with “Heavy Rain”, The Last Of Us never borrows from either the literally great or detective thriller. What this game does is represent the dynamic mechanical shift in survival horror that Resident Evil never achieved, with greater relevance to not only characters and enemies but also the environments. You play Joel, a middle-aged smuggler tasked with escorting the most precious cargo, that is imperative to the continued preservation of humanity, a 14-year-old girl called Ellie, who somehow has an immunity to the contracted virus. The threats and impending dangers are many, with the infected the most obligatory prominent, that appear in decidedly different manifestations depending on the longevity of their infections. “Clickers” are visually impaired by grotesque growths that make visually identifying targets impossible, and have instead evolved there auditory senses, by generating incessant clicking sounds to ascertain potential targets through vibrational anomalies, similar to bats. “Runners” however have no such impediment, with arguably more volatile aggression and sustained numbers that make these newly turned creatures a more potent foe. Human combatants are also a persistent threat, patrolling areas with vast numerical advantages and superior weaponry. Even the environments themselves pose threats with infectious spores that disperse from the rotten corpses of the infected.

“The future is a brutal place to behold”.

Utilising your environment efficiently is key. Placing yourself in advantageous positions for visual recognition, listening intently for any conspicuous sounds and identifying the positions of your enemies with the ability to focus Joel’s hearing, which allows you to pinpoint the infected/human locations as well as the relevant recourse to subdue or even avoiding confrontations, which is often the most receptive decision for preservation. Your limited provisions and access to weaponry mean it’s also in your interest to be exploratory with the environment; with bullets, healing bandages and miscellaneous supplies such as scissors that can be used to upgrade the effectiveness of your weaponry. With such minimalistic attainment of instruments and ammunition, it is more than advisable to utilise stealth effectively as running in blindly, with a principal, full frontal exchange of punches will inevitably end with your demise. Every decision has to be fortified with rational intent, intricate deliberations that take into account the fragility of your environment, the current position of enemies and your constantly depleted supplies, often deviating from your proposed route due unforeseen discrepancies of very mobile enemies mean for increased revision of strategies. Sneaking behind enemies and puncturing the throat with a skiv is the most effective, as well as cursory way to subdue enemies, but the scarcity of these implements mean your likely strangle the unsuspecting victim–or if spotted–subject them to becoming a human shield for opponents projectiles. The Last Of Us incisive parity of stealth and visceral action, intensifies the combative situations.

“Probably the best looking game on the PS3.”

Your progression is often halted by your own sensitive tension. Your hesitantly groping every corner, consciously seeking every overturned furnishings that can obscure your visibility, where every secluded crevice is temporary salvation and every jagged, elongated corner is a potential threat. There is a surprising variation of textures ingrained into the environments as well, with diversity and bright compositions, rooms illuminated by shattered glass reflected by the suns bright infiltration or foot prints remaining in the sand long after the indentations were made, are subtle inclusions that creates a deeper sense of immersion, contrary to the forlorn hopelessness portrayed. It’s also intriguing to investigate the remains of society; vegetation weaving through the interiors of long abandoned vehicles, moss covering the large sections of dilapidated buildings, even reading the stories of departed survivors via notes which emphasises the loss and sobering humility of such devastating events. It also posses moments of humour in amongst the depraved mortality. After narrowly escaping the sewers and infected pursuers, there’s a message scrawled across the wall outside, warning people not enter due to the enormity of infected. Despite the singular presumptions associated with horror, The Last Of Us avoids the typical clichés affiliated with horror themed games. “Oh, I’m all alone surely I’ll get attacked? Oh, I won’t?”. Generally if you are attacked, it’s likely because of some idiotic decision you have made.

“Joel and Ellie’s relationship blossoms naturally, until eventually they become dependant on each other.”

What truly defines this game though is the characters and their engrossing interactions. Creating characters with this adept level of depth and complex emotional discharge, even in the most embellished circumstances is testament to not only Naughty Dog’s clear technical rendering of facial expressions, but also demonstrates the level of credible, immersive narration seldom committed to gaming narrative, with incidences conducive to the characters. The relationship between Joel and Ellie initially is one of antagonized suspicion, that soon develops into companionship. Underneath Joel’s constantly grimacing exterior is an ordinary man instantly empathetic, though crippled by emotional loss and burdened by responsibility, who becomes a somewhat reluctant surrogate for Ellie, who herself must deal with her own worth that burdens her existence and teenage naivety, with no concise notion of life before the devastation. Hope, or lack of resonates strongly throughout their erratic companionship, with one–of many–genuinely poignant scenes that encapsulates the emotional trauma both characters face, and laments the emotive potency of both these characters, with optimism manifesting as an elongated necked animal. Emotionally, you feel as though you’ve trekked along with them, watching impotently as they’ve become isolated, whether by physical or mental impediments, and rejoiced in the savagery of palpable imagery or their emotive reconciliation.

“The infected tend to congregate in the darkened ruins of the cities.”

It’s not without minor discrepancies though. It can be excessively violent, though in the context of the narrative it isn’t so deplorable; you can hardly survive gruesome encounters with mentally deranged infected with vocal retaliations? Also enemies seem indifferent to Ellie’s presence. At one stage, Ellie receded to shelter in front of a door to avoid detection, directly in view of wandering inquisitors and her presence wasn’t notified. But these are minor indiscretions, particularly when you consider the intense horror, wonderfully organically designed infected, the equestrian activities, poignant morality of your decisions, selective combat, scarce provisions and emotive narratives are all executed with concise implementation. But the way The Last Of Us threads the intricate, emotional binds that tug and confine your emotional stability, with tender maturity is what really adds gravitas to the preceding horrors. What initially feels like a clustered, formulaic approach to progression, soon feels natural, particularly in such a hostile environment, and with 2 of the most robust and exceptionally conceived protagonists ever committed to PlayStation. The Last Of Us question’s the moral contours of right and wrong, pivoting focally on surviving rather than winning or losing, but inevitably concludes with a choice; could you sacrifice the life of someone you care about, for the preservation of humanity?

What did you guys think of The Last Of Us? Let me know your views. Cheers.