You take control of Ellie for three to four hours, jumping between two moments in her life. In the DLC Left Behind, many of those conventions, unfortunately, revert to the genre’s default. And for the character of Ellie, killing was a soul-shattering experience that lingered with her. Tense shootouts forced you to battle a dwindling inventory and your own character’s limitations as much as the enemies. Every bullet spent or bomb thrown mattered. Combat, for example, was something you were forced to do rather than wanted to do, and the game was better for it. Things we take for granted in similar games were turned on their head. At first glance it looked like countless other games, but on closer inspection that turned out to be a setup. One of the things that made The Last of Us such an arresting and eye-opening game was its continual rebuttal of action-game conventions. An emphasis on combat that runs counterintuitive to the original
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