*2023-04-19 update：更新部分內容˙
借用原文標題。
來源圖片請見原串。
前言、
整篇看完，真的覺得業界在遊戲敘事方面是不是有甚麼誤會...。
順便翻一下全文，給大家觀賞。
圖片文字兼翻譯、(A.C註：嫌太長不想看的原討論串有主旨，翻譯是Google機翻+個人潤色)
The Last of Us Part II, like its predecessor, is first and foremost a narrative-adventure game. This is unlike Naughty Dog's other key franchise Uncharted,where the narrative, while very well told, is there more to service the action-adventure gameplay.
像它的前身(A.C註：《最後生還者》)一樣，《最後生還者》第二部首先也是一個敘事冒險遊戲。 這與頑皮狗的其他主要係列《秘境探險》不同，在敘事中，雖然講得很好，但還有更多內容可以為動作冒險遊戲服務。
While there is plenty of stealth action gameplay in The Last of Us Part II, the game's primary purpose is to immerse the player in the interactive narrative. The game pushes this idea even further than its predecessor by incorporating a number of extended "walking simulator" style narrative chapters. These play out much like the first game's stand-alone expansion chapter Left Behind. While these may not be what many gamers are expecting, they are exceptionally well done and really show what other games, especially pure narrative adventure games, should be aspiring to accomplish with their character dialogue, presentation and voice acting.
儘管《最後生還者》第二部有很多潛行遊玩的部分，但遊戲的主要目的是讓玩家沉浸在交互式敘事中。 遊戲通過合併許多擴展的“步行模擬器”風格的敘述章節，將這個想法推向了更遠的一步。 這些玩法很像前身的獨立擴展章節《 Left Behind》。 儘管這些可能不是許多遊戲玩家所期望的，但它們的表現異常出色，並真正表明了其他遊戲（尤其是純敘事冒險遊戲）應該通過角色對話，演示和配音來實現哪些目標。
In order to achieve the detail and believability of the character interaction and dialogue in the game Naughty Dog has made a clear choice to sacrifice much of the player's agency in the story in favor of fixed outcomes in order to achieve the highest production values. That the player doesn't have the ability to greatly influence or determine the outcome of the narrative might prove anathema to many players and how they view their role in the video game experience. However, we would argue that not every video game must be about the player roleplaying their character's story. The medium of interactive entertainment also needs games that drive stories where you are participating more in the capacity of an active "observer," just like other mediums of entertainment, otherwise we're going to be locked into a limited number of stories to tell.
為了在遊戲中實現角色交互和對話的細節和可信度，頑皮狗做出了一個明確的選擇，即犧牲故事中的大部分玩家代理*1來達到固定結果，以實現最高的生產價值。 玩家沒有能力很大程度地影響或確定敘述的結果，這可能使許多玩家感到厭惡，以及他們如何看待他們在影像遊戲體驗中的角色。 但是，我們認為並非每個影像遊戲都必須與玩家扮演角色的故事有關。 與其他娛樂媒體一樣，交互式娛樂媒體還需要遊戲來驅動故事，使您以活躍的「觀察者」的身份參與其中，否則我們將被鎖定在數量有限的故事敘述。(A.C註：這邊應該是要說明多線敘事的必要性。但是忽略一件至關重要的事實：玩家≠觀眾)
The game's narrative attempts to tell an emotionally relevant story of revenge and its moral and emotional impact on the lives of the people involved, while at the same time trying to create a consistently engaging interactive experience. The player proceeds through two separate, fully realized campaigns; one as Ellie, and another completely different campaign as Abby - the woman Ellie has sworn to kill. Other games that have tried this in the past have stumbled by not letting players play as the "hero characters" they care about. But The Last of Us franchise doesn't really have "heroes", just survivors. Both Ellie and Abby are well realized and relatable characters and playing through both of their stories does a tremendous job of showing how otherwise decent people can become trapped in a vicious cycle of horrifying violence.
遊戲的敘事嘗試講述與復仇有關的情感故事，以及其對相關人員生活的道德和情感影響，同時嘗試創造一致的互動體驗。 玩家通過兩個單獨的，完全實現的故事主線前進； 一是：艾莉（Ellie），另一個是完全不同的劇情：艾比（Abby）-艾莉（Ellie）發誓要殺死的人。其他遊戲過去嘗試過不讓玩家扮演他們關心的「英雄角色」而失敗。 但是《最後生還者》系列並沒有真正的「英雄」，只是倖存者。 艾莉（Ellie）和艾比（Abby）都是有相當覺悟，並且有關聯性的角色，通過他們兩個人在故事的扮演，展示如何使人陷入駭人聽聞的暴力惡性循環中發揮了巨大的作用。
The gameplay in The Last of Us Part II is an expansion and notable improvement upon the previous game, which gave players little freedom of choice in the moment-tomoment gameplay. Most levels in the first game played out like little "combat puzzle boxes" where there was a narrow predetermined "right way" to finish the mission, which made the effective strategy feel forced upon you. In this new game the combat areas are significantly larger, the enemy Al greatly improved, and the number of ways you can clear a space (or just avoid it altogether) are greatly enhanced. That said, Naughty Dog still can't seem to make decent gun combat in any of their games, and this one is no exception. Luckily for them it fits in with the game's overall theme and pushes the player toward using stealth over head-on.
《最後生還者》第二部中的遊戲性是對先前遊戲的擴展和顯著改進，這使得玩家在當下遊戲中幾乎沒有選擇的自由。 前作(A.C註：《最後生還者》)中的大多數關卡都像小小的「戰鬥解謎」一樣，其中有限的預定「正確方法」可以完成任務，這逼迫玩家盡量使用有效策略。 在本作中，戰鬥區域顯著擴大，敵人的Al大大改善了，清理戰鬥空間（或完全避開戰鬥）的方式數量也大大增加了。 話雖如此，頑皮狗似乎仍然無法在他們的任何遊戲中進行像樣的槍戰，而且本作也不例外。 幸運的是，它們適合遊戲的整體主題，並促使玩家使用潛行前進。
One big gripe about the moment-to-moment gameplay was really with the game's inventory system. The inputs for weapon switching are all located on the d-pad, and there was no "quick switch between current and previous weapons. So unless you've got an additional thumb on your left hand, then you're going to have to take your thumb off the movement controls on the left stick in order to switch weapons, which was notably frustrating during the more frenetic combat sequences.
遊戲玩法的一大困擾在於遊戲的道具系統。 武器切換的輸入全部位於十字鍵上，並且目前武器和之前武器之間沒有“快速切換”。因此，除非您的左手有額外的拇指，否則必須將拇指離開左操縱桿上的移動控制以切換武器，這在更瘋狂的戰鬥過程中尤其令人沮喪。(A.C：個人想到魔物獵人的C型手，以及機戰傭兵的AC握法。機體性能不足就用技術補足xD)
The visual quality and attention to detail in The Last of Us Part II is absolutely best-inclass in basically every area, and the overall presentation is significantly ahead of anything that other teams have been producing on console and PC. We were frequently stunned by the quality of the game's visuals, something that sadly seldom happens these days. It's even more impressive considering that the game feature two separate player characters with different groups of allies, in different locations, along with flashback sequences taking place years before. It features a shockingly wide variety of environments, weather, and day cycles in locations ranging from Wyoming to California.
在《最後生還者》第二部中，視覺品質和對細節的關注絕對是所有領域中最好的，並且整體表現明顯領先於其他團隊在主機和PC上製作的任何內容。 我們經常被遊戲的視覺效果所震撼，可惜是這些日子以來很少發生了。 考慮到該遊戲具有兩個單獨的玩家角色，它們在不同的位置具有不同的盟友，及幾年前發生的閃回場景，因此給我們留下了更為深刻的印象。 從懷俄明州到加利福尼亞州，它的環境，天氣和晝夜週期變化驚人。
Players certainly have every right to their subjective feelings and opinions on the game's narrative, on Naughty Dog's choice to make players play as diametrically opposed protagonists, or in the game's final contentious outcome. But as someone who cares deeply about the evolution and expansion of what storytelling in interactive entertainment CAN BE, those things ultimately matter less than how incredibly well Naughty Dog have crafted and delivered the story that THEY wanted to tell. Not every game's designs can support the level of visual detail they produce, and not every team has the money or talent needed to produce it, but this game sets a new bar for what we should hope to be able to achieve going into a new generation of consoles.
對於遊戲的敘述玩家當然擁有其主觀感受和觀點的一切權利，但是，頑皮狗選擇讓玩家扮演完全相反的主角，或者在遊戲最終具有爭議的結果。 然而，作為一個非常關注交互式娛樂中敘事方式的發展和擴展的人，這些事情最終所起的作用要比Naughty Dog精心製作並傳達他們想講述的故事要好得多。 並非每個遊戲設計師都可以支援他們產生的視覺細節水準，也不是每個團隊都有生產遊戲所需的金錢或才華，但是此遊戲為我們希望實現的主機新世代樹立了新的標杆。
The Last of Us Part II is the exceedingly rare video game where what it accomplishes in moving forward the art of narrative storytelling in video games as a medium ultimately outweighs whether or not everyone "likes" it or even if everyone has "fun" playing it. That said we loved it, had a great time playing it, and find ourselves still thinking about its characters and stories even after finishing the playthrough.
《最後生還者》第二部是極其稀有的影像遊戲，它在推動影像遊戲中的敘事藝術方面所取得的成就，勝過所有人是否「喜歡」它，甚至每個人都「玩得開心」 。 就是說我們很喜歡它，玩了很開心，發現自己即使破關，仍然還在思考它的角色和故事。
個人心得、
本文的粗體紅字的部分，
Neil曾經說過：
當玩家操縱的角色不能和玩家的意願重合，並且遊戲不斷讓玩家做出他們不想做的行動時會發生很有意思的事情，比起普通的玩家和角色重合的消極性玩法，玩家會對角色做出的決定表現出不一樣的反應*2
所以...
遊戲界欠誠哥1個TGA？
更不用說一件老物就打死Tlou2：
敘事藝術？真他媽笑死。
備註、
*1、玩家代理(Player Agency)
簡單來說就是玩家選擇權。
詳見：
What is Player Agency?
*2、當玩家操縱的角色不能和玩家的意願重合...
出自：
【情報】【媒體訪談】TLOU2的編劇對神轉折發表看法。(有雷)
