The Last of Us: Season 1 Review

The following is a review of the first season of The Last of Us that does not contain any spoilers.

The best adaptations do not merely replicate the original work; rather, they strive to expand the experience of the audience members who are already familiar with the source material, while simultaneously providing a point of entry for those who are not. The Last of Us on HBO is a great retelling of one of the most popular storylines from video games. It rebottles the lightning of what made the game so special to many people in the first place and lets it strike again with amazing impact. From the very first to the very final episode of The Last of Us, viewers are kept on the edge of their seats thanks to two outstanding lead performances and a brilliantly crafted depiction of what it is like to discover hope and love in a world that is hellbent on denying it.

The overall structure of the tale will be recognizable to anyone who has played the first game in the series, but it does not mean that you will know exactly what will happen next because there are frequent variations from the norm. It’s a post-pandemic world where pockets of humanity seek to maintain afloat in a sea of infection, and it’s a place that showrunner Craig Mazin and the developer of the computer game The Last of Us, Neil Druckmann, brought to brutal realization. In a United States that has been destroyed by a lethal fungal plague for the previous 20 years, the scene is set for the story to revolve around Joel, a smuggler who is tasked with transporting a teenage girl to the west coast. Naturally, things do not go smoothly as danger waits around every corner in both human and post-human forms, eager to sever their ever-tightening bond. This danger comes in the guise of both human and post-human forms.

The Last of Us: Season 1 Review

The End of All of Us Character Guide for the HBO Series

Ellie, who could have easily been reduced to a plot device, is the charismatic heartbeat of the program. She does this by reminding Joel of what he’s lost while also providing him with a feeling of purpose that he has not felt since the day he was at his lowest. The theme of love lost runs throughout the series, but the relationship of pseudo-paternal love that develops between Ellie and Joel is much more important to The Last of Us. In the role of Ellie, Bella Ramsey is just electrifying, moving with ease between delicate sensitivity, adolescent exuberance, and decisive force. She is a true revelation and deserves all the credit in the world for leaving her stamp on a character whose previous interpretation has been so deeply established in people’s minds. She is a true revelation and deserves all the credit in the world for making her mark on a character. She explodes onto the scene like a bomb right away, but as the season progresses, Ramsey’s performance just gets better and better, mirroring Joel and Ellie’s blossoming romance.

Pedro Pascal, on the other hand, does an outstanding job of deftly filling the well-worn shoes of Joel Miller, complete with a southern-fried drawl and the ability to carry himself in a manner that is genuinely experienced and worn out by the world. He has a pensive and reserved demeanor most of the time, which serves as a counterpoint to Ellie’s contagious exuberance, and he is able to forcefully convey a wide range of feelings with just a single glimpse of his eyes. He is able to position himself at each extreme of Joel’s emotional range, from warmly sympathetic to ruthlessly violent, such that he is a perfect fit for the part. He is stoic in the face of adversity, and he is able to do so.

Bella Ramsey is really mesmerizing to watch in her role as Ellie.

” Characters who weave in and out of Joel and Ellie’s journey are accompanied by strong performances from the supporting cast. Anna Torv plays the steely Tess, Gabriel Luna plays Tommy, Joel’s estranged brother, and Lamar Johnson plays Henry, who is multifaceted and sensitive. It is impossible to forget Nick Offerman and Murray Bartlett’s performances as the morose Bill and Frank, respectively, in this show. They deserve special recognition for their work. We fill our limited time with some very remarkable performances, which serve to continually bring home to us the precarious nature of our existence. If The Last of Us were to create a Venn diagram with circles representing good and evil, the spaces where the two sets of circles overlap would be densely populated with people.

The first season crams a lot of content into its nine episodes, which can cause it to occasionally feel like it’s moving at a breakneck pace as it hurtles toward its conclusion. However, it is still a finale that delivers the knockout blow it should, and one that is ultimately deserving of being reached. That being said, I have a good understanding of the setting of The Last of Us as a result of having completed each of the games a number of times, but I can’t help but wonder if newcomers to the series will have trouble keeping up with the large number of unfamiliar ideas and terms (such as FEDRA, Fireflies, cordyceps, and so on) that are constantly thrown at them in the beginning episodes, when the action is moving at its fastest.

The Last of Us: Season 1 Review

When it gives itself some breathing room, the show is at its most enjoyable, and it is in these moments that The Last of Us shines the brightest. It is true that watching recreations of crucial sequences from the game brought to life brings its own kind of pleasure, but it is most exhilarating when pursuing less trodden roads, which is best illustrated by the appearance of Nick Offerman’s character, Bill. One handwritten note from the game is stretched into the most compelling hour of television this season, and he is a character who receives great new dimension as a result. It is a poignant portrayal of love being discovered in a world that all too often tears it apart, and it is a unique story that has been wonderfully brought to life via performances that are full of tenderness.

It is a testament to how love between two people – regardless of who they are or who they choose to share it with – endures even when the world and the bodies physically channeling it fade away, and it explores themes that are mirrored through Ellie’s eyes in another later standout episode. Also, it explores themes that are mirrored through the eyes of Ellie. It is to the creators of the show’s credit that two landmark episodes bring LGBT relationships so firmly to the forefront, when it would have been so easy to sneak them in as a footnote when doing so would have been so much more convenient. They are delivered without any sort of criticism or evaluation and with total celebration. These rare sparks of life are all the more vital and impactful in a post-apocalyptic vacuum that prevents any air of enjoyment to thrive. They are like fireflies that illuminate an abandoned glass jar.

The fact that two landmark episodes of the program put a prominent emphasis on queer relationships is a testament to the quality of the show’s producers.

” Visually, The Last of Us is often a sight to behold, even when the camera is focused towards solidly awful subjects. This is true even when the game’s protagonist, Ellie, is in the frame. The majority of buildings have convincing details such as flaking old paint on the walls and fungal veins crawling across the floors. Especially when the seasons change and snow begins to blanket the ground, expansive landscapes conjure up images of classic American westerns. However, despite the fact that The Last of Us has fantastic visuals, the program really shines when it comes to the quality of its music. In a world so silent that even the slightest sound can be unsettling, distant cries and nearby clicks often reverberate creepily across the scenes. The original score is also excellent, as it features recognizable refrains from Gustavo Santaolalla’s legendary soundtrack singing in harmony with original compositions that pulse and propel their way through some of the more action-packed scenes in the movie.

The Last of Us: Season 1 Review

The Last of Us can be easily compared to the tone of Cormac McCarthy’s novel The Road, although it never quite reaches the same heights of unremitting gloominess that either the novel’s film adaptation or the film adaptation of the novel itself did. There is a trace of humor or a ray of hope concealed behind each and every morbid detail. The Last of Us may give the impression that the world is hopeless, but after watching the first season, it becomes clear that there are many things that are still worth fighting for. In this respect, the show is more reminiscent of Alfonso Cuaron’s Children of Men, both in terms of its themes and its visual identity. Bursts of flame or the flash of gunshots occasionally take the place of the low-saturated grays, greens, and browns that predominate the scene. Both stories ultimately come down to the successful smuggling of a young woman as well as the powers of love and the human spirit while battling mother nature’s cruelest will. Bombed-out cities nonetheless present flickers of life and echoes of a civilization worth surviving.

There is hardly ever a scene taken with the camera stationary, which is consistent with the dynamic structure of the narrative, in which we move swiftly from one location to another all throughout the United States. There is no flashy choreography a la Hollywood, nor are there any acts of superhuman ability. It’s all very human and rustic, with action sequences that are almost sloppy in their execution. During a fight, you can literally smell the dread and perspiration pouring off of Joel, which grounds the action in the extremely high stakes that are at play in each and every clash. Although there are a few standout moments of combat in The Last of Us, the game is more interested in showing the fallout of violence than it is in showing the violence itself. This is accomplished by allowing the echo of each gunshot to ring out for a significant amount of time before the next shot is fired.

Both the action and the appearances of the infected are used rarely, but they frequently have an effect that is shocking. The infected and their new, fibrous nature look repulsive up close, with fuzzy tendrils crawling out of their mouths like nesting xenomorphs. Close-ups of the infected are particularly revolting. Their mushroomed scalps add additional levels of fear to each of them, making each of them feel like a very lethal menace despite the fact that Joel and Ellie are well-armed. The experience of playing the game and engaging in battle are the primary ways in which the infected might make their presence known. Because the show isn’t dependent on providing a player with something to continually do with their hands, it opts to focus on the human tales that are present in this universe instead, and it does so to great effect. Having said that, I couldn’t help but want for just one or two more clicker appearances throughout the course of the nine episodes. This is because we often go through spans of many episodes without a sighting of the dread that they can bring, and it was driving me crazy.

The focus of “The Last of Us” is less on the actual acts of violence that take place and more on the aftermath of those acts.

The story doesn’t veer too far from its original source material, but it does deviate from its course on times in order to shed light on parts of the universe that had not been investigated before. Players will be motivated to perform their best by particular shots or words of talk. Leonardo DiCaprio pointing out the TV impressions, but most importantly, these never feel forced in, and instead blend in perfectly with the style that is being played out. The extensive use of flashbacks helps to portray a more complete image of the world as a whole. These flashbacks provide additional background on a personal as well as a global level, as well as vignettes of societal life both before and after the breakout.

The Last of Us: Season 1 Review

You get the distinct impression that Druckmann is taking great pleasure in returning to his narrative and incorporating new parts, such as an early stay in Indonesia, that simply would not have made any sense to include in the game. It also takes some time to explore issues that are similar to those in other works that Mazin has done on Chernobyl. The most prominent of these themes is the courageous struggle of people from working-class backgrounds against hopelessness and the failures of government. However, it never, ever, ever loses sight of the very personal human impact that a world that has been altered permanently has on the individuals of that planet in a variety of different ways. There is a palpable sense of a creative partnership here that is operating at the height of its power, resulting in the successful blending of new and old ideas, which ultimately prevail.


The Last of Us on HBO is a great adaptation of one of the most moving stories ever told in a video game, and it does a phenomenal job of bringing Joel and Ellie’s journey to a whole new audience. The adaption is amazing. Taking the core of what has made the original story so popular for so long, it expands the scope of the game’s world while also reimagining certain elements to create an almost wholly breathtaking result. It provides an enriching spectacle for aficionados of the PlayStation hit, while still managing to stay welcomingly thrilling to newbies, and it is anchored by two superb lead performances from Bella Ramsey and Pedro Pascal.

8KW Score
The Last of Us is a magnificent adaptation that was produced by HBO and should thrill newbies as well as enhance those who are already familiar with Joel and Ellie’s adventure.

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Michelangelo, a writer who is passionate about using the power of the written word to create beautiful and moving works of art. I believe that writing is not just about putting words on a page, but about creating something that is both aesthetically pleasing and meaningful. I strive to create work that is both beautiful and thought-provoking, that challenges readers to think differently and to question their assumptions. I believe that writing has the power to change the world, and I am honored to be a part of that tradition.

Writter at KEWIKI

Hello, my name is Zephyrine. I am a writer with a passion for storytelling and a love for the written word. I have always been fascinated by the power of words to transport us to different places, to make us feel different emotions, and to connect us with others. I strive to create stories that are both thought-provoking and entertaining, that challenge readers to think in new ways and that leave a lasting impression. I believe that good writing has the power to change the world, and I am honored to be a part of that tradition.


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