The Last of Us Part I is a stunning trip into the past, says Joshywise, though the price may put some off. Check out our review here:
For those in need of a recap, we join Ellie, a precocious fourteen-year-old, and her older guardian, Joel, on a trek through America in 2033, from Boston, through Pittsburgh and Wyoming, all the way to Salt Lake City, Utah. Joel lost his young daughter, Sarah, at the start of the outbreak. We find him, twenty years on, still wearing the watch she gave him for his birthday, which has long since broken.
It is not the subtlest chunk of symbolism, but it does the job; not only is the world cracked and stuck, in a green and overgrown version of 2013, but our hero, too, has frozen. Over the course of their journey, Ellie, who is miraculously immune to infection , learns what makes Joel tick. Gradually, they form a bond.
Standing, or rather prowling, in their way are ranks of ghouls, and also some infected former-people. The action ofpanic horror that we have yet had. I’m thinking not just of the third-person shooting, the over-the-shoulder aim, and the 180-degree turn. But of the camera, anchored to your character’s back and heaving with the pant and sway of their movements; you feel hauled through the drama, exhausted. Think of Leon, the hero of that game, slogging through the autumn-rusted backwoods of Spain.
The question has to be, is this enough? It may seem an odd, not to say precious, idea, to remake a game that hasn’t even acquired the dust of a single decade. Shinji Mikami may have waited a mere six years before taking another swing at, but the leap, from the quavering polygons of the PlayStation to the plush gloom offered by the GameCube, was far more striking to behold. Here the difference is one of degrees.
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