allan reis

"The Last of Us" has become an acclaimed game due to its story, memorable characters, and post-apocalyptic world. With the release of two sucessful games, many fans are anticipating a potential third part. However, with this, comes the question: is a part 3 of The Last of Us really necessary?

By exploring the potential direction of the game series, it is important to consider the implications of continuing the story. Has the narrative reached a natural conclusion or is there still more to be told? A part 3 could provide an opportunity to expand upon the world and characters established in the previous games, while also resolving any lingering questions or story arcs.

At the same time, there are valid concerns about the potential risks of a third part. How might a part 3 change the established lore or character dynamics? Could it detract from the impact of the previous games or damage the series forever?

In this article, we could explore the pros and cons of a part 3 of The Last of Us, considering both the potential benefits and drawbacks of continuing the story. Discuss the ways in which a third part could expand the world and characters of the previous games, as well as the potential risks that must be avoided to preserve the integrity of the series.

Brecht has implemented in his theatre the "Verfremdungseffekt", which can be translated to the "alienation effect" or "distancing effect." Essentially, by creating interruptions or fissures within the illusion on stage, the audience can achieve a certain distance to the characters and events, allowing for evaluation and critique. During his performances, the audience is presented to some cues that indicates that what they are seeing is an ilusion, that what they are seing is actually an actor playing a scene. This cues can be strange objects, non-connected actions or actors speaking directly to the audience for example. Different of the Theatre of Pleasure, when the audience is emotionally connected to the play, Brecht seeks to create a critical discussion about what is being showed. He redefine it as Epic Theatre.

Is it possible to have the same effect in Video Games where you, as a player, is somehow intensively connected to the gameplay and the character?