#it's called electric judgement and it comes from a place of justice not hate

[gaeasun]

Rewatched the Phantom Menace yesterday, and I can’t help but think that half of the problems would have been solved if Plo Koon had said anything during the Council meeting. I have no idea what it would be. But it would have solved so many problems because Plo Koon is just like that.

I’m not blaming Plo Koon for this to be clear, I’m blaming the writers who kept him quiet. He would have been too powerful and problem solving and so they had to silence him.

[dascuro-blog]

☀️🌙✨ tarot questions ✨🌙☀️

Tagged by @cyberill

the fool: do you have any nicknames? Quite some actually, Dasc, Dasco, Dark, Jackass (highschool) Morza (junior high) Nativo, Boa... and a few others I dun remember exactly but I know there is more

the magician: have you ever written a poem or song about somebody else? I think so? Ive wrote a poem for a girl I liked in highschool and Ive rearranged a few songs that already exists to fit some people, mostly for spoof reasons

the high priestess: what is your dream date? I honestly dun know, I enjoy the company of people I like a lot, any date in which we both will be having fun and enjoying each other company I guess

the empress: do you think you will ever get married? I need a girlfriend first and then it would be a matter if she would like to be married, I would like to myself, but marriage is between two people

the emperor: what are some names that you like? Im bad with names honestly I try to keep people I know with nicknames either ones they already got or some Ive come up with, so its hard for me to “like” a name I cant remember well

the hierophant: do you believe in ghosts? My home is haunted, I know this cause Ive seen it and felt it with my 5 senses for over 20+ years so Im inclined to believe

the lovers: do you have a crush? a few here and there but for good or ill most have already found somebody they love ^_^;

the chariot: thoughts on astrology? Sometimes what it says is close to whats going on, so I just keep an open mind on the “what if there is something there” when comes to it

strength: what is your dream occupation? Magistrate or Minister of justice, I enjoyed my time as a judge so would like to go bigger still

the hermit: what is your favorite soda pop? there is a vanilla soda down here called “Tonicol” which is delicious

wheel of fortune: first three songs that come on shuffle?

ASGORE by RichaadEB

Highway to Hell by AC/DC

Ultima Esperanza by Warcry

justice: favorite color of rose? White

the hanged man: favorite movie soundtrack? I dont know... I listen to a lot of loose tracks from many OSTs to actually stick to one honestly

death: what are three things you want to do before you die? Meet all my friends in the flesh for once, find somebody who would like to share my live with me (corny I know) and... ummm... you know when I think of a third thing is either too bloody big for me to do in a single livetime or something that not only Ive done already but would like to do it again, Ill come back to ya on that later

temperance: can you describe a strange dream you’ve had? Somebody comes to visit from outside the country, they know better wherever we go than I do within the dream, often leaving me behind trying to catch up with em, getting lost or ending up somewhere else only to find em back at some other place and they tend to ask me “why you took so long?“ often finding em at the shores of body of water (Ive had this dream for the last 10 years)

 the devil: do you enjoy thunderstorms? yah, once I unplug any electrical devices from the grid (lost a tv 2 years ago to lightning)

the tower: favorite colors to wear? Black and dark red

the star: have you ever seen a psychic? years ago, tis a good friend who I lost track of

the moon: have you ever written a love letter? yah

the sun: do you believe in magic? same as atrology keep an open mind who knows what you will find out tomorrow

judgement: do you enjoy school? Elementary to highschool I could skip thinking about it, university was fun enough and I made a gambling racket for funs between classes, I had fun too on my master’s classes even when a few times I was drugged out during em (I didnt took hard drugs I was taking medicine that made me groggy and slow)

the world: do you like waking up early? I hate having to wake up at 7 to go to work if I can sleep in Ill sleep for 12 hours been dead to the world

Ill be tagging @cyrusnightfire @shilot and @lunerlad

[entergamingxp]

‘There are games that are just comfort food. This is not one of those’ • Eurogamer.net

It’s nearly here. Seven years after The Last of Us, Naughty Dog’s sequel is almost upon us. We’ve spent several hours with the game, analysed its staggering tech and here, ahead of our The Last of Us Part 2 review which will be landing on June 12th at 8.01am BST, is the first part of an interview with director Neil Druckmann (a word of reassurance, too – this is spoiler free, and we’ll be delving more into story details with Druckmann at a later date).

Were you always wanting to challenge players with the story you wanted to tell with this sequel?

Neil Druckmann: I think what made the first game work for us was that it’s this kind of emotional journey of the first game is this idea we wanted to say like, can we through interactivity, gameplay, storytelling, music, all those things, make you feel, or come as close to feeling the unconditional love a parent feels for their child? And then the beautiful moments that come with that and the kind of insane horrific moments that could come, like how far someone’s willing to go for someone they love unconditionally.

We sometimes have this conversation about like, love is sometimes insane, right? It leads you to insanity – and that’s not a judgement necessarily. It’s just who we are as human beings. I think we’re wired this way, and we see by the end of it how far Joel is willing to go to protect Ellie. And with this game, you know, we toyed with different ideas that didn’t work out because they were lacking that same emotional core.

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And then what we landed on is like, again, that’s a kind of very similar question – how far are you willing to go for love, but when someone has wronged someone you really care about, how far are you willing to go to do right by them to bring the people responsible to justice and what effect that would have could have on you – in this case Ellie – the journey she goes on the people around her, if they’re going too far and if so are they ever coming back from that?

Those became interesting philosophical questions to hang the whole narrative on top of.

Neil Druckmann: I guess they’re in the sequel as well. It almost feels in parts that technology is making a comeback, like you have electricity and Jackson, there’s a lot of home comforts now where you have people playing Vitas. We’re 25 years after the outbreak day and humanity is gonna start rebuilding itself. But then you also need to have those threats.

There’s the threat of the infected and they’re constantly applying pressure, and that pressure is making them act in certain ways. So you see them walling themselves off like in Jackson. They can try to have a community in some semblance of society they used to have before the outbreak. But because years later, you know, like, they were able to get hydroelectric plants growing, and now they have electricity and some sewage and some of those things that we take for granted, they got those things back up. Other places don’t have those luxuries, and they survive in different ways, we got to see like the hunters in the first game, their survival is to kill other people and steal their supplies.

When we get to Seattle, and that part of the demo, or the part of the preview that you got to play, we get to see that there are two groups fighting over the resources of Seattle. And one of them is a secular, more militaristic group, and they also restore electricity, they have generators, they have weapons, and a religious group that has rejected a lot of those things and have become more of the Luddites, and they’re trying to live off the land. And that’s how they see they’re going to protect themselves and their values.

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So each group and by extension each character within those groups, have different values. And what becomes ripe for drama is exploring what happened when you bring these two groups together and their values don’t match up. How do they deal with that?

And I guess that feeds into the other things that they do to each other as well. Like, they’re saying, well, I don’t believe in that, so therefore, if you do that you’re a bad person. And it makes it easier for them to make judgment calls, and for you, the player to kind of judge them as well.

That’s the game on a high level, right? It’s the pursuit of justice to the ends of the earth. But when you go deeper it’s about tribalism, trauma, and how we often see ourselves as righteous and other people as wrong, and how we can – and this is a universal human thing – associate ourselves with a tribe. Often when there’s a conflict with another tribe, we dehumanize them, we make them less than us, so we can justify the things that we do in the pursuit of justice.

That’s not a judgment, again, that’s just like what happens and you see the examples all over the world. And even within countries that supposedly are not in war and are doing okay, like just look at what’s happening politically around the world, and the discourse we have online with each other. Our hope is with this game to explore that, again, not in a preachy way, but in kind of a thought provoking way. And that’s what we wanted to do.

I think in particular, the Paris Games Week trailer really caught people’s eye because the violence is so real and it’s clumsy in a way. I think that’s where a lot of people’s discomfort lies. It’s not the stylized stuff we’re used to seeing, it is horrible and nasty. It’s not glorifying the acts that you do. Were you offering support to the staff when it comes to that portrayal of violence – was there emotional support going on in the studio? Because I think I feel like if you’re doing that over a period of time, it must have quite an effect on you having to see that all the time.

Neil Druckmann: So I guess there’s a couple of questions there. One is, we felt, you know, if we’re going to deal with a story about the cycle of violence, and what people are capable of doing to each other, both on a mental level and the physical level, we can’t shy away from that. That would be doing the story a disservice. So we have to own that, whether people like it, love it, hate it. That’s what the story is. That’s the core of it that we have to do. And then whenever you deal with difficult subject matter or physical aesthetics of that difficult subject matter, like the violence you’re describing, there’s people that work on a team to deal with in different ways. Some people just have the complete separation. Like they’re crafting something, and they’re looking at the details of it. And they’re not like thinking about the greater context is like, how do I replicate the way light is reflecting off of this liquid surface – they have complete separation.

There’s other people that might be affected by it. And what we’ve done with this game for the team is to say, look, if there’s any content you feel uncomfortable working on with it for a short period of time, a prolonged period of time, there’s plenty to do in this game, right? There’s plenty of other things to work on that aren’t those things. Let’s give you the tasks and make you comfortable. At the end of the day we want people that are passionate about what you’re doing. That’s when they do their best work. If something ever makes them feel uncomfortable, or they’re not into it, they’re not going to do their best work. We want to craft the best game possible.

In the preview that we played, and also in the State of Play event, and we saw that the Vita owner is playing Hotline Miami. Is that an intentional nod to a game with similar themes about violence. And how does The Last Of Us 2 build on that if so?

Neil Druckmann: We wanted to show those things that we take for granted. Like Ellie has her Walkman and she can listen to music and some people have movies and there’s a girl that found a Vita. And by the way, that’s not the only time you’ll see the Vita in the game!

Yes. The PlayStation 3s were a nice touch as well!

Neil Druckmann: So okay, what is an interesting game to put in? And there’s one part where we put in one of our games, but it’s like, okay, is there an opportunity here to just make some meta statement about the kind of narrative we’re after? And we’re also just huge fans of Hotline Miami – I love that game. So we reached out to those guys, and they’re nice enough to let us put the Hotline Miami within The Last of Us Part Two. It just felt like a nice nod.

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I hope it’s okay, just briefly to touch on the elephant in the room as well. I was wondering if the leaks had any impact on the studio?

Neil Druckmann: They sucked. You’ve worked on something for so long, and then to have it come out in the way that it did was disappointing, to myself and other members of the team. But pretty quickly we huddled together and wanted to discuss it. First of all, The Last Of Us One had stuff leak, Uncharted 4 had a truck where the games were stolen off that truck early and people were like posting the ending early. And that didn’t take away from anything at the end, because nothing compares to playing it. Nothing compares to being Ellie and feeling those moments, not just in cutscenes, but in gameplay, conversations, the music and the emotional effect that has on you. And the story was constructed in such a way that it’s really not about twists and turns. It’s about slowly ratcheting the crank and feeling the tension with the choices the characters make.

So okay, it sucks. But we know once people get their hands on it, they’re going to feel what it is we’re after whether they’ve seen it or not, and that’s that’s what made us confident. Okay it’s going to be uncomfortable for a while, the games gonna be out there, and I think you’re going to get what we want you to get out of it.

Yeah, it totally sucks. And it really annoys me as well because it just felt like there’s such a toxicity around aspects of the game at the moment, you know, there’s this massive entitlement about the story that’s being told, and like this hardcore minority that will just not accept any depiction of diversity at all. I’m curious as to what your thoughts on the reaction to that is because it seems so contradictory to what the game itself is trying to say. They’re going off on something that they don’t even understand yet.

Neil Druckmann: There’s a lot of the feedback that came out, our take on it is, you don’t know. Right? There’s so many false things out there. We don’t want to go out there and correct anything because that would be spoiling the game in a way – by saying what it isn’t, we’re kind of saying what it is.

And then as far as the kind of characters we put in our game, we try our best. We made a journey with Ellie, and Ellie is who she is. It’s been defined in the previous game. We’re going to continue going forward. She’s now 19. How do we explore all the facets of what it’s like to be 19? You think you’re invincible. You think you know what’s right and wrong in the world. You are sexually attracted to people you’re attracted to. Those are all things we want to explore for this character – that’s how we do honest storytelling.

So if you somehow have a problem with that, well, then that sucks, but the story’s gonna win for us. It’s ironic or maybe sad – I think that people will benefit the most from this kind of story are the ones that are yelling the loudest right now, but I hope there’s enough in the game to draw them in and just normalize stuff that is normal. It is part of our society and it is part of owning up to an interesting nuanced character.

Yeah, 100%. I feel so bad that you guys have to weather the storm. But I really think that it’s going to be worth it for the people who are finally going to see themselves represented in a game like this. And I think that the people that matter are really gonna appreciate it. Just, you know, from my perspective.

Neil Druckmann: And yeah, a lot of the misconception is like, oh, we’re somehow sacrificing the story to win diversity points. And that’s not how we work. Everything is in service of the story. Getting better diversity gives us better story, gives us fresher perspectives on conflict. And I hope once they play the game, they’ll realize it.

Did you ever worry it was a consequence about making a game about hatred that it kind of begets more hatred in kind? I guess I think a lot of players are uncomfortable with having any kind of a mirror held up to themselves in that respect.

Neil Druckmann: Oh, it’s interesting that some of the reaction is very much indicative of what the game is designed to do. And I think it’s a bit into spoiler territory, but we want to elicit certain feelings from the player and then have them reflect on those feelings for the second part. So for us, it’s like okay, we got the first part. Now let’s see if we can get the second part once the game is out there because again people just don’t know. There’s all these theories about what the ending is but the ending is not out there. You actually don’t know how it all comes together.

We’re finally getting it into people’s hands, to see this meticulous journey that we’ve crafted for Ellie and how these events affect her, the highs and lows of that journey – that there’s beautiful sweet moments and these dark, hard moments to deal with. And we want it to be challenging, right? It’s like, yes, there are games that are just comfort food. This is not one of those games – there are moments in the game that are comfort food, and there moments are really challenging emotionally to play through. That’s part of the design of it.

from EnterGamingXP https://entergamingxp.com/2020/06/there-are-games-that-are-just-comfort-food-this-is-not-one-of-those-%e2%80%a2-eurogamer-net/?utm_source=rss&utm_medium=rss&utm_campaign=there-are-games-that-are-just-comfort-food-this-is-not-one-of-those-%25e2%2580%25a2-eurogamer-net

[entergamingxp]

New enemies, new abilities and new details

Naughty Dog has made it very clear that The Last of Us Part 2 centres on some dark human emotions. “The emotional journey of the first game was this idea of, can we – through interactivity, gameplay, storytelling, music, all those things – make you feel, or come as close to feeling, the unconditional love a parent feels for their child,” creative director Neil Druckmann tells us after I play through a section pulled from some way into the sequel’s story. “There are the beautiful moments that come with that, and the kind of insane horrific moments that could come from that, like how far someone’s willing to go for someone they love unconditionally.

“We have this conversation that love is sometimes insane, right? It leads you to insanity – and that’s not a judgement necessarily. It’s just who we are as human beings. I think we’re wired this way, and we see by the end [of The Last of Us] how far Joel is willing to go to protect Ellie. With this game, we toyed with different ideas that didn’t work out because they were lacking that same emotional core.

“And then what we landed on, it’s a very similar question to how far are you willing to go for love, but when someone has wronged a person you really care about. How far are you willing to go to do right by them to bring the people responsible to justice and what effect that would have could have on you, in this case Ellie, the journey she goes on the people around her, if they’re going too far and if so are they ever coming back from that.”

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In the section available for preview, Ellie works her way down Seattle’s barely recognisable main streets via long overgrown quarantine checkpoints, in pursuit of a character called Nora in a nearby hospital. She’s having to clamber over turnstiles that have rusted into place and barbed wire that has collapsed and given way to vegetation.

One thing you’ll notice about The Last of Us Part 2 is that locations almost feel limitless. Even though you are of course always being subtly directed to specific waypoints, it never feels like you’re being hemmed in or funnelled – the path forward seems organic, always allowing for optional detours to scavenge for resources. While exploring, we pass through shops and stores abandoned for 25 years at this point in the Last of Us timeline, but I was still able to find useful items here and there on the barren shelves, and by smashing the odd glass display and vending machine front to reach an overlooked rag or plastic bottle hidden away at the back of the case. Many areas had several stores you could explore if you wished, though it’s easy to walk right by or overlook a hidden entryway if you’re simply pushing ahead to the next story beat.

Wanting to be thorough in our exploration, I eventually came upon a craft brewery bar with its main doors locked, but with huge glass windows facing its street side. Through those windows we could see a number of infected stumbling around inside, in stark contrast to the deathly quiet streets I’d just come through. There seemed to be no quiet way of gaining entry, so after a little preparation I picked up a nearby bottle to smash the glass, alerting the small crowd inside. One runner then crashed out of a second window to attack us on the street, and was quickly followed by four more of its friends.

Luckily, I’d been able to set some trap mines around a parked car to thin their numbers as it exploded on contact, sending a shower of limbs into the air. All that was left to do was pick any stragglers off with a well-placed headshot with our bow, loot a few items including a letter and some old rags off the corpses, and then scramble back over the smashed window into the now empty bar. And there’s not much in there aside from empty glass bottles and the dregs of some alcoholic spirits behind the bar that can be siphoned off to use in crafting health kits or molotov cocktails. Not exactly what you’d call a worthwhile haul, but The Last of Us has never been about big prizes and payoffs. It’s about weighing the risk versus reward of any given situation, and the reward is sometimes simply scraping up just enough to stay alive until the next checkpoint.

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One thing The Last of Us still does better than perhaps any other game series is in crafting hundreds of little stories that are woven directly into the fabric of its world design. At one point during the demo Ellie takes a detour into an old apartment block. In one of the homes, there were a suspicious number of resources scattered around, surfaces looked wiped down and tidy, there were even some leafy green tomato plants sunning on the windowsill. All the signs are screaming at you to stay alert but, without spoiling anything, I didn’t get the memo in time.

What was even more interesting is what I found in that building had been previously hinted at by the letter dropped by an infected earlier in our playthrough. Everywhere you go in The Last of Us Part 2 seems to have its own story to tell if you look hard enough, stories that don’t intersect with the main plot, stories that you could easily miss or pass over. These stories exist simply to enrich the world around you, and add together to make this an apocalypse you believe in. If you survive through them, of course.

And though combat is a key component of The Last of Us Part 2, navigating your surroundings is just as if not more important to your survival. There’s now a dedicated jump button, meaning Ellie can pull herself up over ledges and clear gaps over obstacles, which, coupled with the ability to use ropes to scale and swing over buildings, lends new verticality to bypassing the many ruined downtown structures and skyscrapers. Ellie can now also go prone, crawling under vehicles and through long grass to hide from enemies while using the all-important listen mode to suss a safe route forward.

Even though combat feels very familiar to its iteration in the original game, much has been done in Part 2 to make Ellie feel more nimble. And often, no matter how well-prepared you are to face foes head-on, the safest and smartest thing you can do is run away and use your surroundings to disappear from the path of a wandering clicker or an arrow loosed by someone stalking you.

It’s impressive how hese open areas, these claustrophobic tunnels and streets, bleed together seamlessly so that you scarcely notice when you move from one place of interest to another. A familiar-looking conference centre sees you exploring an accounting department, out a window, onto a fire escape, into the next building, over a rushing river and into a sewer system, where Ellie proves she finally learned how to swim. Navigating out of the sewers, you surface in an abandoned rail station which turns out to be Pioneer Square. Here, though completely overgrown, you can instantly recognise real-life landmarks like the Iron Pergola and the Tlingit Totem Pole.

It’s only when I step into Pioneer Square’s long grass that I hear some strange whistles and what could be the tightening of bowstrings amongst the swaying vegetation. On the edge of some trees ahead there’s the faint glow of a bonfire. A whistle rings out and an arrow thuds into our shoulder. Ellie is flung back as more whistles call out in response to the first. I need to hold R1 to remove the arrow, otherwise it’ll consistently damage us, but all the while I’m being flanked by this new enemy, a group of the ultra-religious zealots known as the Seraphites, or Scars. Turns out, these are way more difficult to bypass than infected. They move quickly and quietly, and communicate wordlessly with one another using whistles and calls. Most use bows, some carry axes and sledgehammers which Ellie will need to quickly dodge away from while waiting for an opening with her knife. As a combined force, they attack relentlessly. Overhead, one of their disembowelled victims swings from a tree limb.

“When we get to Seattle, and that part of the preview that you got to play, we get to see that there are two groups fighting over the city’s resources,” says Druckmann. “One of them is a secular, more militaristic group, and they restore electricity, they have generators, they have weapons. Then there’s a religious group that has rejected a lot of those things and have become more like Luddites, they’re trying to live off the land. And that’s how they see they’re going to protect themselves and their values.

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“So each group and by extension each character within those groups, have different values. And that becomes kind of ripe for drama, exploring what happened when you bring these two groups together and their values don’t match up. How do they deal with that?”

You do indeed get to see the two groups clashing later in a forest, where the seraphites ‘free’ another victim by stringing them up and cutting them open. This extreme violence has been seen in several trailers and gameplay demos for the game, and it’s shocking in the way it depicts a clumsy, slow, amateur sort of violence, not the swift and clean almost glorified stuff we’re used to seeing and indeed performing in similar types of games. “We felt, if we’re going to deal with a story about the cycle of violence, and what people are capable of doing to each other, both on a mental level and a physical level, we can’t shy away from that,” Druckmann explained. “That would be doing the story a disservice. So we have to own that, whether people like it, love it, hate it. That’s what the story is. That’s the core of it, what we have to do.”

But how does the development team feel about immersing themselves in that kind of heavy violence every day, and does it weigh on them as they create that story? “Whenever you deal with difficult subject matter or physical aesthetics of that difficult subject matter, like the violence you’re describing, there’s people that work on a team that deal with in different ways,” says Druckmann. “Some people just have complete separation: like they’re crafting something, and they’re looking at the details of it. They’re not like thinking about the greater context, they’re thinking: ‘how do I replicate the way light is reflecting off of this liquid surface?’

“Then there are other people that might be affected by it. And what we’ve done with this game and for the team is to say, look, if there’s any content you feel uncomfortable working on with it for a short period of time, a prolonged period of time, there’s plenty to do in this game, right? There’s plenty of other things to work on that aren’t those things. Let’s give you the tasks and make you comfortable. At the end of the day we want people that are passionate about what they’re doing. That’s when they do their best work. If something ever makes them feel uncomfortable, or they’re not into it, they’re not going to do their best work. And we want to craft the best game possible.”

For what it’s worth, it never feels like the game is zeroing in on a neck stab or forcing you to look at someone’s panicked death throes because it simply wants to shock and disturb. It’s making a statement about the world Ellie lives in, about what the people in that world do to one another in order to stay alive or maintain control, and it’s part of the story the game as a whole is trying to tell.

As you might have seen in the recent State of Play presentation, there’s one enemy guard who you come upon while she’s playing Hotline Miami on a Playstation Vita. Aside from the console being surprisingly well-preserved, I wondered if Naughty Dog were making a statement by including that game specifically, given that it’s all about the guilty pleasure of extreme violence. Druckmann said that they were originally going to include one of their own games, but then asked themselves, “Okay, is there an opportunity here to just make some meta-statement about the kind of narrative we’re after? And we’re also just huge fans of Hotline Miami – like, I love that game. I love the engine of that game. So we reached out to those guys, and they were nice enough to let us put it in there.”

Given that Naughty Dog is keen to avoid spoilers ahead of the game’s release, there was little in the way of main story development during our demo, but Ellie as a character still shines through as she mutters hushed plans to herself or gears herself up to attack. She’s clearly been affected by the events of the last five years, and she’s clearly grown up in a world where innocence is a luxury few can afford. Says Druckmann of her development, “We made a journey with Ellie, and Ellie is who she is, as defined in the previous game. She’s now 19. How do we explore all the facets of what it’s like to be 19? Like, well, you think you’re invincible. You think you know what’s right and wrong in the world. You are sexually attracted to people you’re attracted to. Those are all kind of things we want to explore for this character, that’s how we do honest storytelling.”

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Of course, it’s difficult to talk about The Last of Us Part 2 and not address the elephant in the room – the fact that large parts of the game appeared online last month, when hackers allegedly infiltrated Naughty Dog’s private servers and posted videos of pivotal scenes online. Druckmann said these leaks sucked, of course, but ultimately the game will speak for itself. “Look, first of all, every game we’ve had has had this happen – The Last Of Us had stuff leak, Uncharted 4 had a truck where the games were stolen off that truck and people were posting the ending early,” he said. “And that didn’t take away from anything in the end, because nothing compares to playing the game. Nothing compares to being Ellie and feeling those moments, not just in cutscenes, but in gameplay conversations in the wake of the action, in the music and the emotional effect that has on you. And the story was constructed in such a way that it’s really not about twists and turns. It’s about slowly ratcheting the crank and feeling the tension with the choices the characters make.”

The story will eventually speak for itself in the full context of the game, but as for the extended gameplay section we’ve played, it shows that in terms of gorgeous, terrifying spectacle and scrappy, panicked survival, The Last of Us is still unrivalled.

For Naughty Dog’s part, according to Druckmann, the studio is excited for players to finally get to experience “this meticulous journey that we’ve crafted for Ellie and how these events effect her. There’s highs and lows of that journey; there are beautiful sweet moments and these dark, kind of hard moments to deal with. And we want it to be challenging. It’s like, yes, there are games that are just comfort food. This is not one of those games. There are moments in the game that are comfort food, and there are moments that are really challenging emotionally to play through. And that’s part of the design of it.”

The section of the game available for preview definitely demonstrated this. It’s desperate and it’s challenging and it’s often brutal, but just like its predecessor, there are, at the same time, those moments of quiet beauty and stillness shining through like bright lights at the end of a dark tunnel. The road ahead for Ellie may be hard, but I still can’t wait to walk it with her.

from EnterGamingXP https://entergamingxp.com/2020/06/new-enemies-new-abilities-and-new-details/?utm_source=rss&utm_medium=rss&utm_campaign=new-enemies-new-abilities-and-new-details