The writing has been spray-painted on the wall since 2016, when game studio Naughty Dog announced that it was developing a sequel to the most revered title of its generation. Set in what’s left of a post-apocalyptic America 20 years after a mutant strain of the parasitic cordyceps fungus jumped species and laid waste to human civilization like a spore of blue mold bruising through a loaf of bread, the action-adventure game asks players to control a bitter man named Joel (Troy Baker) as he reluctantly escorts a defiant 14-year-old girl from Boston to Salt Lake City, where Ellie’s (Ashley Johnson) unique immunity to the plague might be used to make a cure.įrom its unforgettable gut punch of a prologue to the shattering moral ambiguity of its final minutes, “The Last of Us” broke down the emotional barrier that had always limited video games to a frivolous distraction instead of a legitimate narrative form. But no game has ever wrestled with those complications more viscerally than “The Last of Us Part II.” As “Death Stranding” illustrated last fall, the relationship between film and interactive storytelling is evolving at warp speed - especially as “cinematic” video games continue to explore the various ways that having a controller in your hands might complicate and transform the way we engage with visual narratives.
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