![]() ![]() ![]() ![]() In the game, brutal violence is near-constant, because this is what’s considered “gameplay.” In the show, however, Joel and Ellie don’t spend most of their time sneaking through dilapidated buildings filled with infected or shivving mobs of human raiders while also scavenging for supplies. Read More: The Best (And Worst) Video Game Adaptations You Can Stream Right Nowįirst, let’s talk about the types of changes that feel more necessary in taking The Last of Us and turning it into television. Pedro Pascal ( The Mandalorian, Game of Thrones) as Joel and Bella Ramsey ( Catherine Called Birdy, also Game of Thrones) as Ellie capably head up a uniformly excellent cast, and the high-stakes tension, desperation, and struggle to find something worth fighting for in a deadly world that typified the game are all effectively recreated here. Overseen by both Druckmann and Chernobyl writer/creator Craig Mazin for HBO, it is, of course, a solid, sturdy production through and through. Nowadays, a great many games have prestige TV vibes, and that really started with The Last of Us.Īnd now, the game that always felt like a product of the same pop culture era that gave us prestige TV such as Breaking Bad and Game of Thrones has become prestige TV. But the fact that a playthrough of The Last of Us takes about 15 hours, though, has always made me associate it more with prestige TV than with movies. Ten years ago, when I interviewed creative director Neil Druckmann and game director Bruce Straley about their new, generation-defining PlayStation hit The Last of Us, they cited the Coen brothers’ 2007 film No Country for Old Men as a key tonal inspiration. We’ll have our own coverage arriving in the coming days. Editor’s note: This is the Kotaku US review of The Last of Us.
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