The Last of Us: Season 2 Review

After last week’s stay to the past, the final of the second season of the last of us throws us back into Ellie killing Nora. If there were doubts that her innocence was lost, Ellie’s conversation with Dina this week confirms this. She is numb, looking bluntly in the mirror and does not fully recognize who he sees in reflection. This is a clear contrast with the last time Ellie commits such violence: in the first season, when her emotions broke out after the fight with David. Then she could collapse into Joel’s arms. But now he is a defender, taking care of the Dina and the child he wears. At least he is theoretically a defender. Because not much of what Ellie decides to do further, reflects this perspective.

Instead, Jesse must behave like a responsible adult, even though he is barely older than Ellie or Dina. His warning words fall on the deaf ears, because Ellie does not want to see her mission turns everyone around her. The culmination is a lesson of selflessness in the bookstore in Seattle, in which Jesse finally admits that he voted against ABBY In episode 3. Young Mazino is fantastic at the moment of revelation, bringing a very needed level of maturity and a balanced head, without patronizing Ellie. Jesse knows her too well to know that he will not react well to saying what to do, so gently poke her in the right direction. Unfortunately, he chooses a different path.

The choice of Ellie between the thought of those she lost or withdrew back to Jackson with those who keep her decision in episode 2. At this Wyoming Mountain she decided to follow her heart and follow Joel, and not to help the Greater Jackson community in the fight against flames and infections. One might think that her journey was opening her eyes, but it is clear that she did not learn her lesson, because the fuel of love and hatred for a long time is dominated by making decisions, and it will always be. Bella Ramsey is great in this confrontation on the roof with Jess, showing stern and personality that significantly consider their growth.

The dynamics between Ellie, Dina and Jesse is a strong first half to the episode, but I feel that the rest of the finals will miss the road. Towards its terrifying central element: Mel and Owen murder. Realizing that Mel is pregnant is undoubtedly a real sick, intensified by the situation of Dina and Ellie moves on the pages of the book for children just a few minutes earlier. But I think her death is random was interesting. What is to represent the lowest Ellie to sink into her pursuit of revenge was reduced to tragic misfortune.

We have to feel sympathy for Ellie in the version of this series of the series, when it really should be a point where we are most afraid of her. She should feel like a lost matter, not a lost child in a horror movie. He can’t lie like Joel could. Even a bit white to calm Mel. This moment acts on a fantastic concert with Eugene’s history in last week’s episode, but it is not just as effective in its overall implementation, and another example of this adaptation draws blows when it comes to moments of pure violence, as a result removing the impact of history.

Bella Ramsey amazes in the Ellie despair show, but the stage is hurt by the speed at which their character is in this situation. The episode is thrown from one location and a set of characters for the other in the last 20 minutes. We see that Armada Isaac sets off on the night, with unknown intentions. He fully expects to die tonight, but where are they going? This is a secret for a different time (unless you played last part 2, of course). Moving elements and distance can be a bit confusing, especially if you do not know the plot and narrative devices yet. We barely know Isaac and we barely know that any of Ellie will kill. Oh, and we even see how she washed on the island, before it was sent in a way in an exceptionally Seraphite way, but was saved by a distant alarm. In the blink of an eye and it seems that one too many ingredients were thrown into the mixture when we throw ourselves like Ellie on the turbulent waters of the Pacific.

We get scraps of history here, including hanging almost. The problem is that this is television, and viewers will have to wait many months, if not years, see gaps, not half a dozen of the hours of the game that occurred in the last part 2. I admire the decision to stick to this structure, although I feel the main effect of two -person perspectives. I wonder how much influence its perspective will have when our hatred of it was not built in the same way.

Even Jesse’s death takes place too quickly, barely giving us a moment to sit with her before scrolling the clock. Ultimately, it is difficult because it is difficult to assess how successful this part of the story is without the third season for the context. It is difficult to assess that a barely semi-summer story is difficult, but the decision to inform viewers that we are observing the same structure as the source material is intelligent. Black breaking up after Abby’s arrival would be falling, but I think that even more stunning to the audience who does not know where this story is going. The scrolling time teases a completely new side of this story, one seen through the eyes of the characters with whom we just meet – and without the performances of Pedro Pascal and Bella Ramsey to anchor her. I am fascinated by the perspective and I am happy to see how Druckmann and Mazin are fighting the challenge he presents.