![]() Your life, he hopes, is interesting, but to find out, you need to show him what your life was like. Your soul has been plucked from obscurity by a strange boat captain, who claims that if he brings someone with an interesting life to a mysterious entity, he'll be rewarded. But everything starts off in a weirder place. When you select this option in the game, it notes you'll "miss out on some of what makes the game special" but "is still a completely viable way to experience the game." I'd echo that.īefore Your Eyes is a short story-no more than two hours-about the life of a family and the relationship between a mother, father, and a child. It should be noted it's possible to play where the blinks are replaced with mouse clicks. ![]() In these and other scenarios, the gimmick in question could, in theory, be removed and the game would be playable-but would it be lesser? Is the experience not just shaped but defined by the new form of interactivity? It's exciting to see potential new ways of telling stories, and helps explain my early enthusiasm for motion controls on the Wii or early experiments with virtual reality. But if there is, that’s what the story is about.I adore games with gimmicks, and it's a term I use with affection. “And if we know emotional success can still happen in this world, if it can go well, we can worry a little bit more as Joel and Ellie move through this story because if there’s no chance it goes well, then no one cares much. They had a great life together,” Mazin said. I mean, it ends sadly, but it’s a happy ending as far as I’m concerned. “One of my goals was to show that there was a way to win. But Mazin told TIME that he wanted to change Bill and Frank’s story to raise the stakes for Joel and Ellie’s journey. Frank runs away from Bill and dies by suicide, leaving a hate note for Bill. In the original story, Bill and Frank get into a bitter fight. That episode was the biggest divergence from the game. Despite spending his entire life identifying as a survivalist, he winds up deciding to die along with his loved one, a radical and in some ways beautiful transformation. Kathleen leads her army into slaughter at the hands of the infected in pursuit of vengeance of her brother.Īnd yet Bill, a loner, only finds happiness once he finds Frank. He’s so distraught by the turn of events that he then turns the gun on himself. After Sam becomes infected, Henry must shoot him. It’s just that making that choice-and pinning the entirety of your identity to one other person-often has dire consequences. Henry rats out revolutionaries to FEDRA to help his younger brother Sam Kathleen (a creation of the show) risks the lives of her entire army to go after the one man, Henry, who she blames for her brother’s death Bill will burn the living and undead alike to protect his love, Frank.Įarly in the series, Tess tells Joel, “Save who you can save.” It’s an individualist motto suited to the post-apocalypse where few communities survive, let alone thrive. Again and again, characters in the show choose to save the one person they love even if it means betraying their values. And over the course of nine episodes, it primed its audience for just such an ethical quandary. The series had to find other ways to emphasize the gravity of Joel’s decision. ![]() ![]() Sign up for More to the Story, TIME’s weekly entertainment newsletter, to get the context you need for the pop culture you love For those who have already played the game, Joel’s rampage through the hospital might not hit quite as hard. He doesn’t hem or haw over moral quandaries. Pedro Pascal’s version of Joel doesn’t hesitate before acting. The Last of Us TV show has not strayed far from the game throughout its run, and in the final episode it continued to hew closely to its source material. ![]()
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