![the last of us zombies the last of us zombies](http://1.bp.blogspot.com/-8xU3nY7ATq4/U_EA7c6lhsI/AAAAAAAABEU/thvZvToPAOQ/s1600/Last%2Bof%2Bus%2Bzombies.png)
It will be the first television series from PlayStation Productions. The project is a co-production with Sony Pictures Television in association with PlayStation Productions. In a rare development in the world of video game adaptations, the writer and creative director of the game, Neil Druckmann, is also involved and will work with Mazin to pen and executive produce what is intended to be a series.Ĭarolyn Strauss will also executive produce along with Evan Wells, president of Naughty Dog, the Santa Monica-based developer of the game. But it cannot wholly shake off the fact that its core message conflicts with its fundamental pleasures.Craig Mazin, the creator of the acclaimed limited series Chernobyl, is reteaming with HBO to adapt the hit video game The Last of Us. There is virtue in interrogating the gun violence around which the video game blockbuster has become orientated, and The Last of Us Part 2 offers a profound and thoughtful attempt to cause the player to dwell on what it means to aim a gun at another human being and pull the trigger. The game’s violence is designed, through years of iteration, to be deeply enjoyable, a fact that threatens to undercut its message that violence is a corrupting, abhorrent cycle. Once you get your eye in, compensating for each bullet’s gravitational drop, the thrill of guiltless cause and effect is shared between character and player.
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Later, during a flashback, Ellie must use a sniper rifle to take potshots at zombies shuffling on a hill across a sunlit valley. As she does so, you witness and become inveigled by the corrupting influence of her chosen behaviours. During the course of the game Ellie kills hundreds of zombies and humans from different hostile factions – a particularly American conception of human survival: gun-toting and ravenously dog-eat-dog. But the central message, which hinges on the kind of structural conceit of a boldness and invention almost never seen in this category of big budget crowd-pleasers, is less readily convincing. The crumbling vistas, exquisitely rendered faces and memorable action set pieces all dazzle, while the poised dialogue casts a lingering spell. The game sets various new high-water marks in terms of its spectacular production. It's a profound and thoughtful attempt to cause the player to dwell on what it means to aim a gun at another human being It’s brutal stuff (offset by odd moments of guitar-twanging downtime): you hear the gurgling death rattles, see the puddling blood, survey images of the kind of brutality and its aftermath that usually exist only in police files and on the dark web. This adventure game, which mostly takes place in Seattle, is a revenge story that charts, in preposterously high definition, Ellie’s physical and psychological descent into violence. Only pockets of survivors are left, living in fractious scavenger communities. In this, the sequel to 2013’s divisive, post-apocalyptic The Last of Us, you play as Ellie, a young woman immune to the virus that has during the past 25 years devastated North America, turning most of the population into zombies. T his is not the first time that a video game has reckoned with the inhumane acts around which so much of the medium’s output is based, but never has it been done with such lavish production values.