GymWolf
Member
We can only hope.Somehow im worried druckman will kill ellie and make abby the hero
We can only hope.Somehow im worried druckman will kill ellie and make abby the hero
Plot will probably be related to Dina and Ellie will start a new journey to find her
Tommy is a piece of shit or just a badly written character.Let me play Tommy . Man loses everything and goes in a serial rampage to get Abby.
At no point do I play anyone else unless maybe it’s Ellie for a small window.
JusticeForJoel
Otherwise completely new character, and not an apex predator giga chad steroid bitch shaped like a fridge.
Punished Ellie building a community instead of tearing it down. Reunite with Fireflies and finally dying to save humanity. It writes itself.Yeah I agree, I'd be more interested in a prequel for Joel and his brother surrounding the incident that left them astranged or doing runs with Tess. At this point what on Earth could they really offer?
The stuff she did in 2 was so fucked up, I can't even imagine how she could redeem herself.redemption ark for Ellie. Honestly an older Ellie just travelling alone through America would be so cool.
No thanks, we don’t need more open world games.I hope they go full open world this time. Days Gone gave me more of what I wanted than TLoU did. That and have a bit more subtlety to storytelling than what he was going for in 2. Shockingly I also hope to see more of Abby. Went in annoyed to have to play her to hating to have to go back to Ellie. Maybe concluding things with really finishing what they originally started in the first game.
No thanks, we don’t need more open world games.
I definitely do!No thanks, we don’t need more open world games.
You know, you make a good point. I am kind of going through that with Elden Ring right now. I am LTTP (on purpose), I always let the dust settle and many patches ensue in Souls games before I jump in. Been a rule of thumb for me...But Shakespeare is trash! XD
Jokes aside, I do agree with you. It doesn't help that the game was beyond hyped and you see people here still hyping it up as the greatest story in gaming, let alone during its launch where everywhere you looked it was being claimed as such by social and mainstream medium outlets. Only to actually end up playing it and... getting something completely different. Rather sours the whole experience.
Either way, I do hope the MP game is as good as it sounds. The concept of exploring wide open areas, crafting weapons, stealthing your way through regions with simple controls, but having unpredictable players instead of easily abuseable AI? That can create a lot of unique personal stories and narratives if we can also create our own characters and have a more simple/generic story that we can imprint onto.
It would not have the same emotional impact for the player if done the other way. It is supposed to anger you, then anger you even more that you have to use her, then over time, you grow sympathy and understanding as to why she did what she did. Then sort of a fondness for her, in a way, but not necessarily forgiveness.I remain baffled that they couldn’t be bothered to have us spend any time with Abby, before they had her murder the character everybody loved... but then try to build that empathy after she’d already committed such a heinous act. What the hell were they thinking?
Strikes me that Druckman thinks he can do what he likes, and his talent with always bring people along, no matter what he does. This is clearly not the case.
He had an argument with some users in this thread and then requested a perm.Huh what happened to him?
Request a perm over a knack joke? Im not seeing anything big on previous pageHe had an argument with some users in this thread and then requested a perm.
KnackRequest a perm over a knack joke? Im not seeing anything big on previous page
Well hes more fragile than i thought
He had an argument with some users in this thread and then requested a perm.
I'd play that mod.In Part 3, it turns out the cure to the fungus also cures golf club whacks to the head. Joel comes back from his injury even stronger than before, like the kid in Rookie of the Year, and throws Abby headfirst into Tommy's hydroelectric dam turbine.
there's definitely money on the table for a prequel seriesYeah I agree, I'd be more interested in a prequel for Joel and his brother surrounding the incident that left them astranged or doing runs with Tess. At this point what on Earth could they really offer?
She doesn't seem to care at all about the vaccine, why Joel did what he did, the world at large, or anything but herself. It would work better if she actually displayed regret and guilt for what she did to Joel instead of just mild dissatisfaction.
This extends to her relationship with Yara and Lev. There's really no solid reason as to why she decides to devote herself to them.
The stuff she did in 2 was so fucked up, I can't even imagine how she could redeem herself.
I wouldn't mind a story about elder Ellie raising her non-biological kid, now a teenager. Ties back to themes of Pt 1 nicely, imo.Hopefully this will take place 20ish years in the future and we play as Dina’s kid.
see, it's exactly this kind of overt, calculated emotional button-pushing that completely killed tlou2 for me. i never noticed it in tlou. i never stopped noticing it in tlou2. the game's entire narrative exists in the service of it. this isn't 'mature story-telling'. it's simply emotional manipulation...It would not have the same emotional impact for the player if done the other way. It is supposed to anger you, then anger you even more that you have to use her, then over time, you grow sympathy and understanding as to why she did what she did. Then sort of a fondness for her, in a way, but not necessarily forgiveness.
It seems they wanted to have you:
Anger > Resentment > Indifferent > Understanding > Sympathy > Compassion
I can agree with this. Seems par for the course in a lot of story telling mediums from these creative types lately.see, it's exactly this kind of overt, calculated emotional button-pushing that completely killed tlou2 for me. i never noticed it in tlou. i never stopped noticing it in tlou2. the game's entire narrative exists in the service of it. this isn't 'mature story-telling'. it's simply emotional manipulation...
A part of me just wants it to be the child having an intro arc of looking for Ellie and finding a corpse with a notebook instead. Then the real game begins as you listen to journal entries in Ellie's voice over the course of the game. This will really nail home that they're letting go of the past, so we can move past all of the crap(including the fans still being upset at part 2).I wouldn't mind a story about elder Ellie raising her non-biological kid, now a teenager. Ties back to themes of Pt 1 nicely, imo.
For sure; In Part 1, they don't explicitly say what all Tess and Joel got up to, but it's heavily implied to be bad new bears, like when they beat and cold-blood murder ponytail guy over a business deal in the opening minutesI think it'd be interesting if they made a game about Joel and that woman he was running around with before he met Ellie. I forget her name. I'd like to see more of that guy Bill too because there was a history between them.
not really sure how how 'mature story-telling' ended up becoming defined as 'giving the audience feels'. there's nothing 'mature' about having feelings. i mean, children cry...I can agree with this. Seems par for the course in a lot of story telling mediums from these creative types lately.
Yeah, I have to agree - I think the intention was to present flawed characters, that can be understandable and even sympathetic, if not wholly redeemable. The issue is that it's all too cumbersome and too clearly telegraphed, particularly with Abby. They're so heavily focused on managing the arks for the two main characters, that all the supporting characters just stand around while the bodies pile up and be like 'this is fine, I'm with you all the way'.see, it's exactly this kind of overt, calculated emotional button-pushing that completely killed tlou2 for me. i never noticed it in tlou. i never stopped noticing it in tlou2. the game's entire narrative exists in the service of it. this isn't 'mature story-telling'. it's simply emotional manipulation...
I can see where some of the stuff in TLoU could be seen as a shortcut to getting an emotional reaction out of the audience. Talking about the opening with Sarah and the side room with the kids down in the sewer.not really sure how how 'mature story-telling' ended up becoming defined as 'giving the audience feels'. there's nothing 'mature' about having feelings. i mean, children cry...
then again, maybe that's really all that's going on - maybe, while being flattered into believing just how 'mature' we've become, we're simply being treated as children?...
Well, in the conclusions, she seemed to have a very humbling experience. Seemingly.Less of the spoilt brat Ellie became and I'm in.
yeah, story-telling, by it's very nature, involves manipulation. but it shouldn't, & needn't ever, be as cynically relentless as it is in tlou2...I can see where some of the stuff in TLoU could be seen as a shortcut to getting an emotional reaction out of the audience. Talking about the opening with Sarah and the side room with the kids down in the sewer.
It's absolutely effective and in service of the world-building, sure, but like, Steven Spielberg managed to make dinosaurs threatening without having a velociraptor tear through an orphanage.
they actually did do 'white savior', didn't they? smh...Yeah, I have to agree - I think the intention was to present flawed characters, that can be understandable and even sympathetic, if not wholly redeemable. The issue is that it's all too cumbersome and too clearly telegraphed, particularly with Abby. They're so heavily focused on managing the arks for the two main characters, that all the supporting characters just stand around while the bodies pile up and be like 'this is fine, I'm with you all the way'.
Then you have characters like 'Lev', who I assume ND included because they felt like it was important to represent marginalised communities (no bad thing), but then he's just there as a prop for the sociopathic, self-entitled white girl to have her character ark and prove that despite all the murdering, she's actually a good person. Which is actually (I think unintentionally), a wonderful piece of social commentary on the kinds of middle-class metropolitan centrists who work in the Western entertainment industry: "Sure my smartphone and soy latte were made possible by slave labour in developing nations, but I respect people's pronouns, so when you think about it, I'm the hero'.
I wouldn't say it was perfect. Just miserable and pointless.All of this would make sense if Joel hadn't killed her dad and essentially destroyed her way of life and that of her friends.
She's following Owen's lead after he gets disillusioned with the WLF and the war, which makes sense because he means an awful lot to her. Not quite the same conditions but the motive is there. Owen is the only one she sees as someone to be completely trusted, if not moreso than Joel/Tess' relationship. She'll follow him over the WLF.
Her ending in 2 is perfect. I don't see how there's much more story to be told from Ellie's perspective.