![]() ![]() I think we know what we’re doing on this one. How are you going about adapting the show to make sure that’s not lost in the passive medium? The second game relies heavily on perspective shifts that are unique to the agency of video games. So that'll be interesting to see if that means people have a different reaction. Here, they might say 'Oh, you left us with a cliffhanger' as they know season two is coming. So I think it was easier for people to accept it's not a cliffhanger, it's a proper ending. That's the anger of desire and anticipation.ĭruckmann: Obviously, there's the moral kind of ambiguity of that decision: are people still rooting for Joel as he's lying to Ellie's face? But when we made the game, and that ending hit, no one knew if we're gonna make another game. I think people will get angry!Īnger in an “oh my god I have to wait two fucking years to find out what happens next” way? As we're recording this, we haven't aired it yet and we don't know what the reception is going to be. Does she walk away from him, does she walk with him, how does she feel? That moment gets suspended permanently. Everybody was like ‘what do we do?’ And there was that meta-discussion of, are the people that played the game going to be more annoyed that they didn't get it just the way it's supposed to be, or are they gonna be more annoyed that they only got what they had before? And then how will everybody else feel? In the end, there's something very specific about ending on that close-up of Ellie. We see the two of them walking, not really together but apart, down towards Jackson. He had this thought of just playing out this slightly longer, sadder version where Ellie says, ‘okay’, and then she turns and walks away. Mazin: The change was really more something that Ali Abbasi, our director, had been playing around with. It felt like Joel almost turns into John Wick for a moment. In the finale, we were struck by how Joel’s rampage felt so much more accentuated than it does in the game, because of how much less conflict is peppered throughout the episodes. The question is always 'what's the least we need to do to tell this version of the story?' Ellie having to lead you and kill a bunch of people takes away from her kill with David and James. So for everything we've set up until that point, we're giving up some reality. ![]() Joel falling on the rebar is less realistic for the show where we're building. If we'd done that the same exact way, the show would have suffered. And you're playing as Joel and Ellie's leading you and protecting you. And that is where the character magic happens.ĭruckmann: One of my favourite sequences in the game is when Joel falls on the rebar. So much of that is about them looking at each other. So the episode Neil directed, where Tess, Joel and Ellie are in the museum and the clickers come. What we find in the passive medium is that those action sequences are best appreciated by us watching through the reactions and interactions of the characters. But it's harder to pull off solo sequences like that, where it's one character alone and it’s just about action and atmosphere. One that would come up a lot was the hotel basement. Mazin: I know there are sequences that people were very excited to see that weren't in the show.
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