Finally, The Last of Us gets its own TV series with every look of the upcoming Tv series solemnly pleasing our optimism and driving the anticipated fans nutsss. Featuring Pedro’s Pascals, Joel, Bella Ramsey’s Ellie, and more.
The teaser oversees Joel, Ellie, alongside Joel’s daughter Sarah (Nico Parker), Bill (Nick Offerman), a clicker stuck in a wall (or the remnants of one), and potentially Frank Murray (Barrett).
The teaser begins in winter with a dialogue between Joel and Ellie. With Ellie’s voice airing first.. In Ellie’s voice, “Everybody I have cared for, has either died or left me” Joel responds saying; “You have no idea what loss is.” Then we get views from other scenes, including a heartbreaking one from the game (I won’t spoil), a bit of Joel and training early to use a gun, and more. It’s over quickly, but it gives us a great idea as to the tone they are setting with this series.
There’s actually no release date yet on HBO, but we are optimistic before February of 2023.
Furthermore, it was revealed however, that the first season will tell the original game story, but some of the stories in its 10 episodic release will sidetrack from what came initially.
OverBorder Studios’ third-person fantasy RPG Thymesia as a satisfying, high-energy combats that rewards more-less patience than “Elden Ring”, with its admittedly narrow progression systems immediately standing out as something special. But in all honesty, it’s twisting tale bout a plague-torn kingdom and the secret agent that can save it, as well as the inconsistent quality of the exotically portrayed locations it takes place, could be seen as pretty not extravagant and will pretty much soon be forgotten as time speeds.
Thymesia, revolves around Corvus, a well-dressed royal operative who’s had his brain muddled. That’s possibly a consequence of his involvement directly in spreading the plague across the country, a disease that formulates and empowers creatures, while maiming, mutating or killing the rest. He is now left with climbing into the dark void which is his memory, to trail back how he got there in the first place, hoping to find clues to undo the tragedy.
The story seems to be a very engaging one with a like able setup at the start, but the purpose towards the end could be where the criticisms headed at. An IGN writer had his share on the game; “I really liked the setup at the start of the game, but I couldn’t have cared any less about Corvus’s mysterious purpose by the end of roughly eight-hour journey into the game. This is partiallly due to there being surprisingly little dialogue and very few NPC’s to pry informations from, with most of the plot delivered through notes dropped across the maps for you to spend time collecting and deciphering.” Games relating to this line of story-telling has lost its shine a bit after being leaned on so heavily a
After past decades. Also, Thymesia’s not aren’t written in a compellingly satisfying fashion. Honestly, It (Thymesia) could have been a great story of it wasn’t written based on conspiracy swirling around magical blood that turns people into monsters it just doesn’t help Thymesia shake the “Bloodborne clone” allegations.
Thymesia, takes place in three locations. With which two, The Sea of Trees and Hermès Fortress, are un-interesting environs that you’ve probably seen in other games before. Lots of rope bridges and Treehouses that look so alike under the putrid haze, became so hard to navigate.
The swamp at least had the occasional scary, hammer-wielding mutant to make the journey much intriguing, but the fortresses is packed with generic knights (that we’ve probably seen once or twice in other games, even much better) so there was really no surprises.
The dullness of the locations made the game less appreciative and intriguing.
The Royal Garden was really the most catchy and entertaining stage of the game frankly speaking, because it begins as a sort of bizarre set of greenhouses where large twisted flowers grow and descend into a library submerged ankle-deep in blood. Giving opportunities to go even deeper on subsequent visits via sub-quests, eventually into an entire blood cave, teeming with a creep factor that stands out among a genre defined by it.
There’s able-ity to revisit the other two locations in sub-quests as well, but there’s a difference in their creative slushes simply because of the path you take through them, switching up which doors are accessible.
The sub-quests however, are optional, but things you find completing them are very vital in figuring out how you end the plague.
There are different endings, but I won’t spoil, I would have been motivated to see them all, if I didn’t die several times during the boss fight. Thymesias combat skills is actually swift, shattering his enemies in a barrage of blades and dipping out of range before they can counter cleanly. The limiting factor of your attacks is simply the length of your combo string, which is similar to a fighting game. There’s no blocking by default, your go- to defensive skills are your reliable dodge. Deflecting an attack sends damage back to the attacker at a decent level. Apparatus there are limited amount of attacks you can freely land on an enemy before they counterattack, but you’re never told how many that is, even though you are accessible to skills that can affect this hidden feature in myriad ways. Each enemy gets more trivial as you become stronger.
Bosses comes in two forms: extremely large, gimmicky pushovers, and nimble mudhole stompers. The former has more creative designs but very easy pattern to learn and avoid, making them more of experiences than actual challenges. While the latter depicts more one-on-one encounter, where a large list of possible ways to kill you quickly and have you dip, dodge, and deflect a lot to avoid getting whooped. These gets easier overtime as you grow stronger. Getting stronger entails collection of a currency from enemies and spending it to raise stats like health bar, and damage, but you’ll also enhance your weaponry; to a max limit, for an easy kill.
Kat Coiro (director and executive producer) and Jessie Gao (head writer and executive producer) as found a huge balance in highlighting the relationship of Bruce and his cousin Jen (she-hulk). Surprisingly, Tatiana maslany is able to navigate both Jen and She-Hulk with ease. Given her history on Orphan black, where she shuffled loads of characters. As we know She-Hulk isn’t really an alternate-personality, unlike Bruce banner (Hulk), she doesn’t have to contend with another Hulk form. She-Hulk comes alongside the confidence you’d expect specifically from a giant six-foot-seven-inch-gamma-powered super hero. (You really don’t wanna call her that tho)
Basically, the premiere gives us a deeper knowledge of how Jen became the She-Hulk. More importantly, reveals her (Jen) solidified relationship bond with her cousin (Bruce Banner) Hulk, who served as a guide and mentor to her, on using her powers helpfully. They both shared an exceptional chemistry. As a sitcom She-Hulk had to work double-time on the call-backs to give fans a connected feeling to the MCU. It’s all day in the life of your average lawyer, related to Hulk and living her life in the MCU.
This sitcom hits all the right notes, although the first episodes where bout the rundowns and the prefaces which you’ll expect, but none of this is presented in a way to look boring, yes, a very hilarious sitcom. And the effects are loads crazier this time.
