The Last of Us Part II: Why is it so divisive?

Recently, The Last Last of Us Part II won Game of the Year, while, last June, a few weeks before the official release, journalists and critics praised it highly. On Metacritic, critics score is high: 93/100.

However, the user review is way less eulogistic: only 5.7/10, with almost as many negative critics than positive ones: about 35 000, against about 36 000. (As a comparison, there are no negative critics among the critics’ reviews.). It is also worth noting that, on both sides, there are relatively few mixed critics: around 4 000 for users and 8 for critics.

The Last of Us II is, then, a very polarizing and cleaving game. But why is that?

Critics and players almost unanimously praised the graphics and the technical aspects of the game. The divide seems to lies with the narrative and the storytelling of the game. To some, this new opus made bold choices, cleverly subverted expectations, and carried powerful messages. To others, it utterly betrayed the first game and is filled with character inconsistencies and clumsy shortcuts.

How can we, then, explain the gap between those two antagonistic standpoints?

(To do so, one may examine the different plot tricks, gaming devices, or filming effects the game uses, more or less subtly, and the emotional and psychological reactions it is supposed to have on the audience. Plus, as one of the bones of contention is Abby’s character and her narrative arc, empathy is one of the meta-themes of the game: what kind of empathy characters in the game may or may not build towards each other, but, more prominently, what type of empathy a player may or may not develop towards such and such character. Indeed, at least three different kinds of empathies may be at play in the game: emotional empathy, cognitive empathy, and rational empathy or compassion. The kind of empathy one may develop, or, on the contrary, loose, towards such or such character can influence their appreciation regarding the game.)