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The Last of Us Part 2


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I think incredibly linear is a weird way of describing this game. Sure, you essentially move from A to B, but the environments are pretty open, with lots of optional stuff to explore. Same with the combat, which always offers enough play space to come up with different tactics, make a run for it etc. I believe they call it wide linear and I really like that approach, because it still allows for exploration and improvisation, but it never becomes aimless or bloated, which often happens in open world games.

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Wow. Not questioning how you feel about it, but that's a genuinely amazing perspective to me. The combat feels incredible, to my tastes. I was just thinking about how there are about half a dozen scenarios so far that feel like some of the best combat set pieces I can remember from any game. I've just had three very different encounters in about an hour and each one almost felt like a different kind of game, with influences from survival horror, MGSV stealth and full on guerrilla warfare. It's quite a bit more combat heavy than I expected but I haven't played anything so exhilarating in a long long time. 

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34 minutes ago, df0 said:

I’m utterly bored by those sections. Like you said, each to their own.

 

Of course, mate. Although I now assume you were brought up by a Nicaraguan death squad. 

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Cheers to those who recommended knocking the camera and FOV back a bit.

 

Allows you to take in more of the awesome character models and means a little but less swinging the camera about looking for scraps.

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I was absolutely convinced I had completed this tonight, but no. This is a ridiculously enormous game and there is just so much to digest. I don't necessarily agree with all the choices but it's crazy ambitious.

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I've stayed out of the thread for fear if spoilers, but I've got as far as completing the first encounter of day 2 and this is fucking amazing. I can't get over the level of detail and the number of original assets in every single location. It's genuinely incredible.

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3 hours ago, Stanshall said:

Wow. Not questioning how you feel about it, but that's a genuinely amazing perspective to me. The combat feels incredible, to my tastes. I was just thinking about how there are about half a dozen scenarios so far that feel like some of the best combat set pieces I can remember from any game. I've just had three very different encounters in about an hour and each one almost felt like a different kind of game, with influences from survival horror, MGSV stealth and full on guerrilla warfare. It's quite a bit more combat heavy than I expected but I haven't played anything so far exhilarating in a long long time. 

 

Yep. Way better than the first due to better AI, level design, a bigger toolset and more enemy variety. Day 2 is so good in that regard.

And I like that day 3 adds 

Quote

water

to the combat sandbox, like UC before it.

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Damn, just discovered you don't even need to search for safe codes because...

Spoiler

...you can just listen to the clicks. The correct number will make a slightly different noise. Genius.

 

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3 hours ago, df0 said:

I’d enjoy this more if there was no combat sections. I care less for em than I did in the original.


Isn’t this a bit like say Gran Turismo would be better if it had less corners? 

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Well, the story had been looking a bit shaky in my latest session, but now at around seventeen hours it’s belly flopped into patronising and superfluous with baffling zeal. I’m being bashed over the head with ‘ah, do you see?’ moments that anyone with a cerebellum would’ve been able to deduce beforehand, and sequences seemingly built entirely around labouring the kind of points that TLOU just made quietly and adroitly along the way. 

 

You mean good and evil can be relative concepts, Naughty Dog? That revenge is rarely ever a solution? That those we think of as the enemy are often not unfeeling monsters? That attack dogs can actually be nice to their handlers? Oh please, tell me more. 

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I get people who love cinema but don't get on with French New Wave. 

I get people who love music but don't get on with Miles Davis.

I get people who love literature but don't get on with David Foster Wallace, Irvine Welsh or Charles Dickens. 

 

I don't understand who anyone who has a passing interest in games can't appreciate at least 50% of what this game has to offer. I've had more enjoyment in an hour of this than I have in countless other AAA games. The level of detail alone is enough to justify the purchase. I'm yet to finish but at this point even if the entire game had been one of Ellie's nightmares I'd still be enamoured with it. 

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7 hours ago, Garibaldi said:

Well, the story had been looking a bit shaky in my latest session, but now at around seventeen hours it’s belly flopped into patronising and superfluous with baffling zeal. I’m being bashed over the head with ‘ah, do you see?’ moments that anyone with a cerebellum would’ve been able to deduce beforehand, and sequences seemingly built entirely around labouring the kind of points that TLOU just made quietly and adroitly along the way. 

 

You mean good and evil can be relative concepts, Naughty Dog? That revenge is rarely ever a solution? That those we think of as the enemy are often not unfeeling monsters? That attack dogs can actually be nice to their handlers? Oh please, tell me more. 

 

Try to keep an open mind until you've finished, it's very well done and could only be told in this particular way as a game so I have to give it kudos for that. It's impossible to imagine this being executed in the same way in a movie which probably isn't something I could say about the first game, magnificent though it was.

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@Stopharage I totally agree. It's the density of the experience that I'm blown away by. In every single section, I'm bowled over by the combination of environmental design, sense of scale and freedom, the lighting, architecture, incidental detail, sound design, animations, textures and that's before you get to the combat or the dialogue/narrative elements. 

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9 hours ago, Kevvy Metal said:


Isn’t this a bit like say Gran Turismo would be better if it had less corners? 

Hah, not sure if that's a valid comparison.

 

I'm a big fan of the exploration, world building and exploration, that's where it all clicks for me. The combat parts are dull hurdles in my opinion, it feels like mandatory obstacles between two interesting story-telling parts. Perhaps because I am playing on Normal, but I also don't ever feel like I am in real danger which dilutes the combat even more.

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2 minutes ago, df0 said:

Hah, not sure if that's a valid comparison.

 

I'm a big fan of the exploration, world building and exploration, that's where it all clicks for me. The combat parts are dull hurdles in my opinion, it feels like mandatory obstacles between two interesting story-telling parts. Perhaps because I am playing on Normal, but I also don't ever feel like I am in real danger which dilutes the combat even more.


Stick it on Hard or Survivor. The combat is so damn good. It's like a weightier, more dynamic and brutal version of The Phantom Pain, but with better storytelling and a world that isn't dull to explore.

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1 minute ago, df0 said:

Hah, not sure if that's a valid comparison.

 

I'm a big fan of the exploration, world building and exploration, that's where it all clicks for me. The combat parts are dull hurdles in my opinion, it feels like mandatory obstacles between two interesting story-telling parts. Perhaps because I am playing on Normal, but I also don't ever feel like I am in real danger which dilutes the combat even more.


I was being facetious, but in my opinion, the combat sandbox in the game is so compelling and refined that I’m finding it to be the overall biggest draw. I love fucking around in it so much. 
 

I also love all the the exploration, scavaging and narrative focused sections where it’s a little more like a “walking simulator” to use that horrible term. 
 

Some people prefer one aspect over another, which is fine but for me it’s certainly the complete package. I love the pacing of it all.  

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15 minutes ago, Vemsie said:

Yeah, it's what AAA can be if you throw an insane amount of money and talent at it.


And you still need the vision of a Druckmann to pull it off and a publisher who doesn’t mind risk. This is the rarest of the rare.

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15 minutes ago, Vemsie said:

Yeah, it's what AAA can be if you throw an insane amount of money and talent at it.

Sure, but let's not dismiss the stories of ridiculous crunch and talent walking out due to harsh working environments. Kotaku and Jim Sterling are just two sources that did reports on it/em.

But this is not the thread for that discussion, just wanted to mention it for the sake of balance.

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