The second season of
The Last Of Us
has been characterized by challenges of growth, yet these drawbacks underscore the storytelling advantages of
video games
over TV.
Following the premiere episode, I commemorated The Last of Us Season Two’s start.
initial changes
From the game onwards, instead of merely repeating what was seen in season one, enthusiasts of the original content were presented with more substantial elements than just the novelty of seeing it acted out. Questions arise about how the narrative will unfold once Abby’s motivations are unveiled at such an early stage. What role do newcomers such as Gail play in the storyline? Additionally, why has Joel become the character responsible for Eugene’s death?
After the hasty conclusion, the desire for these alterations has turned into a typical “monkey’s paw” predicament. For each beneficial aspect (and they’re plentiful), an unusual or disappointing decision seems to be just around the bend—so much so that I now believe this narrative functions more effectively emotionally and structurally as a video game.
Let’s begin with the bright side. Initially, there was some worry regarding whether
Bella Ramsey
One might have pitched a darker, more fearsome iteration of Ellie; however, such ideas were largely dismissed as her torment of Nora unfolded—a sequence I deem the standout moment of the season. While the series falls short in aging Ramsey effectively (it often seems like only months have passed), Ellie’s transformation consistently hits disturbingly potent chords.
In another part, Kaitlyn Dever stands out significantly in her role as Abby, even with limited screen presence. Meanwhile, Jesse, portrayed by Young Mazino, functions more effectively as a reflection of Ellie’s skewed moral compass.
The challenge of depicting the latter is evidently a struggle for the series, and certain alterations in the HBO version vary from being beneficial to bewildering. In the final episode, Mel’s demise due to pregnancy occurs accidentally during Ellie’s gunfight with Owen rather than through a poisonous stab to the neck—a choice that makes Ellie appear somewhat less like an unforgivable villain in her pursuit of revenge.
This change aims to maintain your alignment with Ellie, yet this intention is compromised by decisions made in other parts of the story. The series clearly states that she is aware Joel murdered Abby’s dad—a detail that remained more obscure in the video game.
This might have remained a devastating revelation for Ellie when she ultimately faces Abby—the moment she realizes they’re trapped in the same vicious cycle of hatred, harming those they love. However, Ellie continues to pursue Abby and even kills her friends after gaining this understanding. While I prefer not to choose sides among avengers turned killers, it’s clear who embodies the smaller evil without needing a moral judge.
This decision could explain why the crucial flashback scene involving Joel and Ellie, placed near the conclusion of the game to recast her relentless thirst for vengeance, was moved up. Yet, this alteration presents its own set of problems. While viewers may gain clearer insight into Ellie’s reckless determination to endanger others as retaliation for Joel, from a storytelling perspective, the plot loses potential dramatic turns—unless the TV series has fresh ideas reserved for later seasons.
Among these rearranged sequences, coupled with Joel’s portrayal becoming even darker—such as lying to Ellie once more (!) and murdering Eugene before he could fulfill his last desire—the current season feels somewhat ungainly. While we gain a sharper understanding of each character involved, this has unfortunately rendered the series feeling rather two-dimensional.
Therefore, the notion of season three centering around Abby’s narrative doesn’t seem as appealing as one might hope. While shifting the series’ ensemble and spotlight for a whole season presents an interesting trial within television, it remains unclear how this could offer any surprises or insights when we’re already aware of Abby’s underlying reasons from the start.
Should the upcoming season delve into the theater showdown with Ellie from Abby’s viewpoint, I doubt television viewers would be as patient awaiting the unfolding events. In the game, this shift remained engaging due to the continuous gameplay mechanics supporting the fresh premise; however, depending solely on storytelling to maintain interest means that an extended time rewinding could significantly dampen the pacing and audience engagement.
I’m interested in knowing how this season has resonated with those who haven’t played the games. However, I believe that the series’ flaws highlight the advantages of narrative techniques used in video games compared to traditional media. The impact of Joel’s demise feels much more intense once you’ve spent hours struggling for survival as him. Similarly, the recurring theme of cyclic violence carries greater weight when you’re personally pulling the trigger and facing off against well-known adversaries.
While The Last Of Us Part 2 falls short in some aspects and isn’t entirely flawless, its structural approach effectively uses viewpoint shifts to place players in discomforting situations, particularly during the confrontations between Ellie and Abby.
Once you hear Abby’s version of events, your first instinct isn’t to metaphorically slice her open or push a control to choke her out. Each strike and hit carries more weight, delivering an unease that stands apart within video gaming—a realm where violent acts seldom provoke deeper reflection beyond mere excitement.
The allure of The Last Of Us Part II lies in its distinctive interactive elements, which even an adapted TV series might struggle to emulate accurately. While such adaptations aren’t obligated to mirror those aspects precisely, they must find new ways to captivate audiences. From this season’s perspective, the primary draw appears to be the fresh experience offered through live-action storytelling alone.
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