Fourteen months ago, we reviewed The Last of Us—a examination that was not always easy to write. The diversion was a outrageous tonal depart from Naughty Dog’s Uncharted franchise, and some-more so than any of a developer’s prior work, it was a plan that pushed a pouch on games that engage vicious levels of storytelling with some-more normal gameplay elements. The problem is, a some-more formidable both sides of that equation become, a some-more a clarification of what a videogame is becomes blurred—and a harder it can be to definitively decider a results.
Now, we lapse to that universe and a characters in The Last of Us: Remastered and once again lay here perplexing to qualification a examination around a experience. A lot has happened in that year and some change, and time has authorised myself (and others) a possibility to not usually demeanour during a story of Joel and Ellie from a post-playthrough perspective, though also a contemplative one. For a many part, my specific likes and dislikes of The Last of Us are still a same now as they were then—so this will offer as a examination of those elements some-more privately associated to how a diversion now exists in a Remastered form. I’ll leave many of my opinions on a diversion itself to that initial examination we did for a PlayStation 3 release, that we can go review (or re-read) by clicking here).
Looking back, it’s tough to call The Last of Us one of a best games of a prior console generation—because that’s a clever matter to make though some-more time to unequivocally routine all we saw and played. Would we be astounded if, once we strech that point, a diversion earns that crown? No. While The Last of Us stretched during times underneath a weight of perplexing to qualification a constrained account and an fascinating movement game—a regulation developers have nonetheless to truly figure out—Naughty Dog’s story of post-apocalyptic fungal zombies was still one of a many tellurian dramas a diversion attention has seen from a vital publisher.
This, some-more than anything else, is what we was reminded of as we played Remastered. Yes, a opening shred stays a touching demeanour during adore and loss, though it’s usually a initial of large moments that make a journey as clever and gratifying as it is. And while categorical heroes Joel and Ellie deservedly get tip billing, The Last of Us simply wouldn’t be what it is though a whole expel of characters and a contributions any of them bring.
That’s all good and good, though copiousness of us satisfied (and experienced) all of that not so prolonged ago. Did Sony and Naughty Dog unequivocally need to rush out a PlayStation 4 pier of a game, even if it was so damn good?
…Oh, we were watchful for some-more than a one-word answer. Well, there’s a few reasons because we not usually had no problem with such a discerning turnaround on a re-release, though indeed acquire it. Even with a vicious and financial success The Last of Us received on a release, a diversion still sat in a shade of a imminent launch of Sony’s hugely hyped new system. The highest-profile titles can turn ignored as dollars are saved adult to buy new hardware, and given how meagre libraries can be during a initial year or dual of a system’s life, it usually finished clarity for Sony to wish to get some-more mileage out of one of their biggest projects in years.
More than that, however, was a fact that we knew we weren’t removing a real version of The Last of Us as we played by it on a PS3. There’s substantially no growth studio that got some-more out of Sony’s final complement than Naughty Dog, though even as pleasing as a game’s environments were and how fun it was to play, it was apparent that a team’s ambitions were grander than a complement was means to accommodate.
Back when we played a new-gen re-release of Tomb Raider, we satisfied how easy it was to underappreciate usually how large a graphical burst was. Sure, we suspicion a diversion looked improved and ran nicer, though it wasn’t until we began doing corresponding comparisons that we accepted a bulk of a disproportion between a two. The same is loyal for The Last of Us: Remastered. Character models, environments, lighting, a small subtleties put into each scene—all those things and some-more come to life in ways a prior chronicle could simply never offer. It’s as if, a whole time, there was a PS4 diversion stealing underneath a aspect of a PS3 game, watchful for a hardware that would one day come along and set it free.
It’s not usually how Remastered looks that matters here—but also how it runs. The strike adult to 60 frames per second is positively conspicuous over a PS3 version, nonetheless we can also tighten a framerate to 30 fps if you’d like. Some might cite a some-more “cinematic feel” of a reduce option, though in perplexing a two, adhering during 60 and a smoother altogether knowledge is a usually choice for me. (Locking a diversion during 30 fps will yield a few lighting improvements, such as higher-quality shadows. The group during Naughty Dog did a lot of tricks to get a diversion to run as good as it creatively did on a PS3, so while a PS4 is not usually some-more absolute though also easier to rise for, relocating a diversion over was no easy task.)
All of this regulation in one unequivocally easy conclusion: This is a loyal The Last of Us. It’s not that a PlayStation 4 chronicle is simply a improved choice of a two; we could not and would not wish to go behind to a PlayStation 3 recover during this point. This is a diversion a developers always wanted we to play, and giving them that possibility to recover such a chronicle of The Last of Us is because we have no problem with Remastered’s discerning arrival. If you’ve already seen and finished all there was in a PS3 version, should we now run out and buy it again? No, maybe not—but creation we feel improved about your prior squeeze isn’t reason adequate to keep all these improvements from those who will (or those who never played The Last of Us in a initial place).
However, some of my favorite tools of Remastered are options that you’ll usually find on a PS4. As a partial of a package, a hour-and-a-half-long documentary Grounded is included, though maybe even some-more engaging is a choice to play all of a game’s cinematics (once unlocked) with explanation from artistic executive Neil Druckmann and actors Troy Baker (Joel) and Ashley Johnson (Ellie). Director’s commentaries are one of a few reward facilities that we suffer for movies, and we acquire their inclusion in videogaming with open arms.
And then, there’s Photo mode. A renouned inclusion in Infamous: Second Son, a PS4’s built-in ability to constraint screenshots is finished distant improved by being means to postponement a action, reposition a camera, play with brightness, filters, film grain, or focus, and adjust other elements to set adult that ideal shot. Sony’s pull for players to be means to unequivocally constraint and share their favorite moments from games has been something I’ve desired from a start, and my wish is that a association encourages all of their studios to embody such modes in each destiny disdainful title. Because, really, there’s usually one downside to Remastered’s Photo mode—how we might finish adult spending usually as many time capturing shots from a diversion as we do personification it.
Rounding out Remastered’s package are a preference of a some-more critical DLC releases for a game: a unusual Ellie-focused Left Behind, a dual prior multiplayer map packs, Abandoned Territories and Reclaimed Territories, and a heartless new problem turn Grounded. To be clear, however: You aren’t removing all of a DLC that’s accessible for The Last of Us—not even close. There’s a prolonged list of multiplayer-focused microtransactions (including impression customization pieces) that are anticipating you’ll spend income on them, and a final arriving set of maps will need remuneration no matter what height you’re personification on. I’m not quite happy about a volume of DLC calm that’s offering here—especially given a fact that Remastered is a scarcely full-priced re-release of what was a full-priced game—but that’s for a bigger contention of my problems with a diversion industry’s adore for post-purchase purchases.
Forgiving what it doesn’t enclose and holding into care all it does, it’s tough for me not to demeanour on The Last of Us: Remastered as not usually one of a best (and many justifiable) re-releases that gaming has seen during this new epoch of remasters, though also as one of a improved gaming practice we can have on Sony’s latest console. That’s not an insult to a other PlayStation 4 titles that have come along—it’s a covenant to how good The Last of Us is and how many it advantages from a tender energy of a new host. Remastered is a squeeze wise both those who have never played Naughty Dog’s bid and those who wish to play it again in a new, some-more wise form.
Sure, we know a perplexity for some to repurchase a diversion they already own—but if there’s anything estimable of such a decision, it’s The Last of Us.