Ellie (Bella Ramsey) and Abby (Kaitlyn Dever) engaged in a gunfight at the end of The Last of Us season two, setting up a time jump that will probably change the third season of the HBO series.
The second season of The Last of Us ended with a literal bang.
After all, viewers were left wondering who had won the fight when the confrontation between Ellie (Bella Ramsey) and Abby (Kaitlyn Dever) abruptly cut to a black screen, a la The Sopranos series finale, and a single gunshot was heard.
The scene then shifts to Abby waking up at her W.L.F. camp, with the title card reading “Seattle: Day One,” which adds to the mystery.
Did Abby murder Ellie, then? Was it all a dream? Not exactly.
At this point, the story jumps back in time and player controls change from Ellie’s perspective to Abby’s in the video games that serve as the basis for the HBO series. Before returning to the present, the story then follows Abby over the two days before her altercation with Ellie.
At this juncture, the narrative shifts back in time, transitioning the player’s perspective from Ellie to Abby in the video games that inspired the HBO series.
The storyline then delves into Abby’s experiences over the two days leading up to her confrontation with Ellie before returning to the present.
The showrunners of The Last of Us, particularly co-creator Craig Mazin, emphasize their commitment to maintaining the integrity of the game’s canon. In an interview with IGN, Mazin expressed their goal of creating a high-quality series while honoring the elements of the game that resonate with audiences.
This approach raises expectations for the upcoming third season, which has been confirmed to shift its narrative focus away from Ellie. Catherine O’Hara, who portrays therapist Gail, hinted to Variety that the storyline will center on Abby, suggesting a significant character development in the series.
The season two finale does not mark the end of Bella’s appearances, as the series has creatively altered and expanded plot elements to enhance character arcs.
For instance, Bill (Nick Offerman) and Frank (Murray Bartlett) were given a rich, decade-long love story in the poignant episode “Long, Long Time,” a significant departure from their minimal backstory in the video game.
Similarly, Eugene (Joe Pantoliano) received a more dramatic narrative in the second season; rather than succumbing to natural causes as in the game, he faces execution at the hands of Joel (Pedro Pascal) before Ellie can assist him in delivering his final words to Gail.
The betrayal ultimately drives Ellie to confront Joel in a poignant and emotional final conversation, which is revealed through a flashback sequence at the conclusion of the game.
Neil Druckmann, co-creator of both the game and its adaptation, highlighted in a May 18 interview with Deadline that this adaptation is unique.
He noted that unlike other adaptations, where interpretations of characters can vary widely, the game’s cinematic nature sets specific expectations for its portrayal.
Druckmann emphasized that the process of adaptation inherently involves transformation and evolution, which he finds to be a fascinating journey.
For further insights into the creation of HBO’s The Last of Us, continue reading.
Starting at the Source
Production designer John Paino shared insights with E! News about the adaptation of the 2013 PlayStation game, The Last of Us, emphasizing that the game’s vision was paramount.
He noted that the concept art exuded a cinematic quality, showcasing a strong sense of place, lighting, and realism. However, despite its film-like appearance, it remained fundamentally a game.
Paino, along with set decorator Paul Healy and a team of skilled artisans, faced the challenge of recreating the contrasting worlds of 2003—one that felt nostalgically familiar and another that depicted a post-apocalyptic reality two decades later.
Paino highlighted the complexity of their task, which involved crafting a period piece set against a backdrop of desolation while also focusing on the human drama at its core.
Production began in Calgary in July 2021, and while the city was suitable for certain aspects, it required significant attention from the art department.
Given that many areas had been neglected for two decades, even locations that appeared ideal for filming needed alterations to remove any modern elements, such as digital parking meters, that could disrupt the desired aesthetic.
Looking for the Light
When Paino initially met with producers, he presented collages that he believed captured the essence of the game. Among the various images, one set stood out: broken restaurant chairs in a Hong Kong alley, creatively repaired by locals using traffic cones and pieces of wood to replace missing legs.
After two decades of scarcity, Paino pondered the resilience of people, asking himself how they manage to survive and adapt. He aimed to convey a sense of desolation intertwined with ingenuity, illustrating a balance between hopelessness and hope.
Craig Mazin, co-creator of the series, found these images particularly compelling, which propelled the project forward.
Where Carpentry Meets Computers
Paino acknowledged the visual effects team, particularly supervisor Alex Wang, for creating the remarkably lifelike cityscapes that emphasize the scale of destruction.
However, the environments the actors interacted with up close were all tangible and meticulously crafted. He explained that the area where the characters exit the quarantine zone was entirely constructed, with every detail sculpted to enhance realism.
While the background was digitally rendered, the team adhered to a principle of building physical sets up to 20 feet high, ensuring that the actors were never merely performing in front of green screens.
