The Last of Us Part 2 Remastered Review

If you were near the edition of the last of us, you remember that it seemed a breakthrough moment for the medium. Earlier there were many good gaming stories, but not much with such good capture of performances to compare to film and prestigious television.

The last of us, part 2 appeared at a different time, seven years after the first game sent the waves through the industry, and its mature kinetic tendencies were then less impressive – not that it saved her attention, because his polarizing narrative attracted analysis intensive emotional The answer that almost overwhelmed the internet.

Baggers and an extremely successful television program later, and finally it is on PC, with many improvements and additions to the game, making it the most luxurious in functions, so far the last version. Unfortunately, the port is shaky in the best times, and the game itself is not a masterpiece.

The last of my frames

The performance is well enough for the first few hours on my RTX 3060 Ti, and the snowy landscapes opening the texture harassed by error HERE and there, but when I reached the iconic overgrown city priest, ineffectiveness became more obvious.

I often encountered stuttering when I go into stout areas and defecture faults for the first time, when the leaves are fighting, and otherwise stable brittle valleys in particularly busy scenes. It does not seem that the technical disaster of the first game port is for the premiere – our more comprehensive performance analysis called it “a million times better” than this mess – but he had all these problems on the average settings in 1080p with a platform, which, although modest, exceeds the recommended specifications of TLou2. One day is coming, but these things usually require more than one patch to solve.

The novel features in the remaster are mainly in line with other Sony ports, offering ultravidal support, HDR, more detailed graphic options and better availability options, such as the descriptive sound and setting “speech to vibration”, which allows the DualSense controller to score dialogue with vibrations to improve brightness. The additions that make this version be final are welcome.

There are also two novel modes: a place where you can freely play Ellie’s guitar and without a return, Roguelite mode, in which players transport a series of randomized combat meetings earning weapons and improvements. The first one seems to have more novel modders than I do, but the latter is my favorite part of the whole game. While most zombie horde games require blowing hundreds of mindless enemies with overwhelming firepower, no return is to carefully utilize a few resources against diminutive packages of refreshingly wise opponents.

Rozs last less than an hour, but they are diverse and richly configurable, with different types of mission, playable characters with different benefits and difficulties in adjusting your experience. It is mostly the same type of sneaking, throwing bricks and clicks at the back, as you will find in the campaign, but retains tension and a bloody performance divorced from a larger history and sequence of exploration, which caused that it was relatively icy.

Moral of history

In contrast to the history of the paternity of the first game and the struggle to maintain our own humanity in times of desperation, the last part of us part 2 reflects what happens when this handle fails and the weathered psyche is conflicted. It is perfectly acted, evaluated effectively and is a scarce video game with a good eye for a good camera shot.

To say that, the script itself has several slight problems. His portraits of ugly, consistent violence are empathic, but also contribute to some cynical assumptions along the way, carrying the baggage of a troublesome hidden metaphor, which cuts off every nuance he could have.

The narrative revolves around the conflict between the military junta Fedra, the insurgent front of Washington’s liberation and the church of religious fanatics, Seraphites. The last two quickly constitute uncomfortable, biased in parallel with the real conflict of Israel-Palestinian with the innovative director Neil Druckmann Return tracking His inspirations to play Israeli soldiers.

Suffice it to say that Deuteragonists Abby and Ellie seem imprisoned in a series of revenge, just like WLF and Seraphites, and “violence in the game is bad regardless of who does it”, proselytization does not take into account the dynamics of the power associated with blood shide between oppression and compressed.

Even ignoring a larger context, most of the stories from the last 2 US are associated with the fact that someone decides to kill someone else, doing gruesome things along the way, and ultimately realizing that killing is bad. The characters are constantly in favor of how violent they would be if they confronted with the right circumstances, and treat murderous rage as something that we are all authorized to, but they probably should not act.

The last of us, part 2 of the vertebrae around her half -baked, inexorable point like a dog chasing her own tail, and none of the best acting in the class makes it particularly informative. As for how to play – this is a feast for the eyes and ears, but sporadic concessions so that you can move on.

Short leash

The exploration is satisfying when the player is loose to climb the bullets and craft materials, but his meat is a circle from the cinema set to the set. The characters pantify loudly about the next goal, which usually includes finding an object or NPC and pressing E. Issue too long meandering, and the game impatiently suggests taking a tip or providing information about sensitive in the right direction, for example with a pop -up window, which reminds you that the glass may be broken. Although everything is the right vehicle for the film history of a naughty dog, constant hints are blunt and artificial in a luxurious way TLou2, it is not.

The narrative and exploration, however, intertwine elegantly with natural entries to the journal and environmental guidelines indicating another batch of handmade meetings. They include happy pursuit sequences for interlude instances that mix so smoothly that it is challenging to know where the game ends and hand -made things begin.

At the beginning there is a sequence in which what seems to be a normal combat meeting becomes so overwhelming that you have no choice but to escape the snowy hill, zombies passing through the buildings and closing the fences of the chain link in the performance that stunned me with its film sense of scale and temp. Despite my problems with the script, the history of the last part 2 is undeniably miraculously sight and sound.

Combat meetings are fun for less elaborate reasons. Bosk and shootings are crazy and electrifying, deciding on the feet, spend valuable missiles, or risk fatal biting in melee. With modest resources to find in the world, every bomb thrown and dropped with a magician is a demanding loss. He also uses some audiovisual OPH, with all kinds of unique executive animatas using nearby Allied figures or the environment.

I was particularly accepted, the way the sound is used in the hiding sections, and the noise of the surroundings escalates in the volumes to the incendiary ears when you almost catch the enemy. There is nothing groundbreaking in the Last of Us Part 2 fight, but I can’t say that I have ever bored me.

Saying that I appreciate the last part 2 of part 2 for his story and audiovisual splendor, but its history is at best BANNED, and in the worst case. Combat meetings, set elements and performances are singing, but exploration and exchange of dialogue trips and bored, leaving me basically polarized. Because this port gives me regular trouble that the clever return mode is the only aspect I return to.