In many ways, the fourth episode has every chance of getting the best result for all fans of the original so far for two reasons: first, it is generally the most faithful to the content and events of the original (if we take into account, for example, the very extended introduction in the first episode). And most importantly, no flashbacks this time, this is an episode from beginning to end, focused on the essence of what makes TLOU what it is: a long and dangerous journey of a pair of characters who find their way to each other in spite of (or because) from) their painful stories, and together they face all the traps of the deadly world around them. And the main lesson of this work is that the greatest danger is not infected, but people.
Ellie and the gun
As with previous episodes, it can be argued that the opening minutes are among the most interesting. Here at the beginning we will see the scene where Ellie is alone, silently, secretly inspecting the trophy pistol from the previous episode. This is a fascinating passage in which one very well recalls one’s own “childish passion for weapons” from, for example, fairground shooting galleries, mixed with a relatively abstract fear of him, because the child usually did not yet see exactly what consequences a weapon could lead to. the shooting is like a person and, above all, has no real or mature context for the feelings associated with it.
These and a thousand other thoughts and memories raced through my mind as I watched Bella Ramsey perform in that scene in fascination. This is another one of those moments that wouldn’t have a chance to sound as human and with so many nuanced CGI acting as close-up shots of a real live person. At the same time, of course, this is another “new stage” that the creators are trying to prepare Ellie for her immersion in the cycle of violence in future stages of the story. Although at its core TLOU can be described as a family story, we find many very dark undertones in it that highlight the darker sides of human nature, including the desire for revenge or domination. If it wasn’t already obvious, this scene should give people unfamiliar with the original a strong enough hint that this isn’t going to be an innocent story. Which is also referenced in many other moments in the episode, such as the discussion of Joel’s violent past, or the attempt to show that even the nameless enemies of this video game passage actually have families, goals, and motives – who is “good” and who is “bad” or who “correct” often just depends on the point of view. This is a key lesson in game design and storytelling, and one that writers Druckmann and Mazin clearly repelled here in a solid and purposeful way.
When it comes down to it
So, with the above in mind, it shouldn’t surprise anyone if, around the middle of the episode, action kicks in and he starts dying. As befits a TLOU, this is a correspondingly insidious, “dirty” and “unfair” action with unpleasantly protracted consequences. However, we can see Joel’s growing concern and Ellie’s growing respect in practice here, who knows that when things go wrong she should listen to Joel because it will save her life. At the same time, she tries to be as cold and decisive as he is. It’s a terrifying scene as it moves through so many levels, and again, with so much human nuance, the game’s graphics just couldn’t handle it.
But what unfortunately doesn’t work so well is the creation of an entirely new character, Kathleen, as the leader of a local group of survivors. This character made sense until she gave up on what was apparently the only doctor in her community. It just didn’t make sense from any point of view, especially for someone who should be portrayed as the naturally recognized leader of a large community. Druckmann explains in a documentary about the making of the fourth episode that they wanted to avoid the show’s impersonal portrayal of enemies as mere obstacles. However, after years of The Walking Dead, the bar for creating an “interesting zombie villain” is high enough that Kathleen has yet to make a very good impression in that regard. By the way, one thing that works just as well in the show as it does in the game is great music – both original/instrumental and licensed/singing.
will be worse
The Pedro Pascal and Bella Ramsey pairing really starts to work really well in this episode – both ways. Several times I caught myself chuckling at their barbs and jokes – the humor between them sparkles very well. But what works even better are passages in which Ellie momentarily stops playing the big badass and lets her childhood fears or vulnerabilities come out — especially frightening ones, such as in a seemingly inconspicuous scene where she asks, “What’s worse is some people can do to us?” how to steal our things from us?”, to which Joel gives a deliberately vague, but completely frightening answer.
And if you’re too hooked on some of the episode’s lighter moments, its ending will perfectly ground the connoisseurs of the game, because they know very well what the presence of Henry and Sam means – that we have one of the most rude passages. a story that is overall rather paradoxical in context. It’s actually amazing that such a cruel and dark story can at the same time show so much good and touching about human qualities and relationships. Anyway, forget about the mid-season deadlocks, because it was an absolutely great episode, and the next one, judging by the trailer, will be just as weak.
Source :Indian TV
