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How HBO The Last of Us improves the openness of games

How HBO The Last of Us improves the openness of games

 


The Last of Us takes its time to rev up. The HBO video game adaptation opens with a 1960s TV interview show (hosted by Bighead!) featuring two epidemiologists discussing the possible end of humanity through disease. John Hannah plays the most prodigious role of the duo, exposing the mechanics of what will eventually drive the apocalypse to this universe: a mind-controlling fungus, previously a phenomenon contained in the insect world, pushed by climate change to evolve in such a way that it makes the jump in human beings. As he talks about how the infection would ravage billions of people, the camera repeatedly cuts out the audience; empty, heightened faces, a mass. The scene is brief, but the tone is set.

This opening scene is specific to the TV show and it immediately sets an intention to move this story forward at its own pace. As someone who has long been familiar with the source material, the choice is thrilling: the HBO version puts a lot of emphasis on leaving room to breathe. The tale patiently settles into a pre-apocalypse world, introducing Pedro Pascals Joel Miller, his daughter Sarah (Nico Parker) and younger brother Tommy (Gabriel Luna) on Joel’s birthday, as Sarah embarks on a quest to have his old watch repaired. . You quickly understand the drift of Joels’ situation: single parent, close relationship with Sarah, she’s a good girl. It’ll be another ten minutes of showtime before the shit hits the fan, and when it does, you’ll be fully integrated into their family and the effect of the catastrophic implosion and chaos will hit more clearly and holistically. .

This was not necessarily the case in the source material. The original video game arrived in 2013, a time when big-budget AAA studios were deep in a years-long effort to aesthetically replicate a sense of cinematic spectacle. In many ways, this ran parallel to a similar movement on television; The Walking Dead premiered three years prior, and HBO’s own Game of Thrones followed a year later. Indeed, what made the original Last of Us particularly interesting was how it seemed to mimic prestige television more than anything else: Aside from its visual realism, there was an episodic nature to the story. dark and heady, which usually takes around 15 hours of gameplay to complete.

However, in 2013, the game was still doing its best with the tools it had in the context of its support. Its opening sequence had to do more economical narrative work in order to get you in the game as soon as possible, opening just hours before the outbreak with a scene that also appears on the show, albeit 15 minutes into which Sarah offers to Joel who is watching for his birthday date. This cut scene does a job of exposition, but the job of grounding you in the world is mostly through environmental storytelling, which isn’t quite possible with TV or movies. (Though you could say that Alfonso Cuarns Children of Men, who does a ton of world-building through background elements that the camera often slips through, came pretty close.) The very first character that you control is Sarah, whom you guide through a splendid sequence that evokes the feeling of being a child alone at home. Details like football trophies or an oddly placed Stairmaster around the house communicate to you, the player, the circumstances of their lives, but it’s dark, Joel isn’t there and the world is ending.

The game and the HBO show converge when the three Millers get into the car. For those with a strong attachment to the original work, the last decade has essentially grown up to this point, and what happens in the TV adaptation is something close to a shot-for-shot remake. The camera takes a view from the back seat, mimicking Sarah’s perspective as the family tries to get out of Dodge. (In the game, you control where Sarah looks, which means you can miss entire frames like their neighbors burning down the house or an overrun hospital.) Many lines of the game are preserved (They have a child, Joel. We too.), while separate tweaks have been made to further enhance the on-screen drama. The plane crash, for example, is an invention for show; in the video game, Sarah and Joel are knocked out when another car crashes into theirs.

HBO’s remake of the outbreak sequence is striking in how it fully realizes what the original work simulated. As you play the game, you can feel The Last of Us straining to use its elemental tools to achieve the kind of cinematic storytelling it seeks, even if it’s ultimately successful. As you control Joel navigating the chaotic streets, Sarah in tow, it’s not uncommon to spot the seams of period tech: Tommy’s path blocking you in odd ways, the artificially intelligent crowd not swarming quite in a way that follows organically. (The remake with more modern technology, released last fall, is only slightly better.) Since it’s a game, it’s also a sequence with a failed state. If you don’t run fast enough, Joel gets bitten, the screen turns off, and you have to start over. This cultivates a sense of urgency in the player, but it opens up the possibility of a significant cost to narrative momentum. Such compromise is endemic to video games.

It’s really something to see a prestige TV show literally translate a scene from a game that, in its own way, was already mimicking a prestige TV show. The promise of an adaptation and this adaptation in particular is the possibility of expansion: to explore more deeply, or perhaps even subvert, the narrative themes of the widely loved story that propelled this wildly successful video game. It’s a dramatic act of imagining, taking original text and finding new life. But as the first half of HBO’s spectacular pilot episode shows, you still have to play the hits.

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