THE LAST OF US PT.2

The Power of Gaming Storytelling

aughty Dog’s The Last of Us The strong depiction of female LGBTI+ immune teenager), leading her to the NPart 2 has been one of the protagonists enters the game into scientists able to use her immunity most anticipated games of the last an ongoing cultural debate around to create a world saving cure. During few years. Within a few days of its inclusivity and representation and their adventures, the two characters release, it became Sony’s biggest the role of media in shaping society. developed a father-daughter bond ever PlayStation 4 launch and is the The complex storytelling in the game leading to a dramatic and bitter ending. fastest-selling game of 2020 so far. demonstrates that gaming, as with Despite a somewhat traditional “damsel Such success demonstrates how the cinema and TV, is a mature medium in distress” narrative, the game excelled compelling story – mixed with gameplay able to deliver culturally relevant and in its emotional intensity and character and design – of the first title managed socially impactful narratives with the development rivalling the emotional to create a fanbase eager to know more potential to inspire discussions and intensity of similar movies and TV plots. about this universe. possibly drive change. The game’s second title moves away However, The Last of Us Part 2 (TLoU2) is TLoU2 is an incredible case study able from traditional narratives and embraces not for everyone and the game’s director, to highlight audiences’ responses and controversial contemporary topics, Neil Druckmann, expected the divisive innovative elements in the gaming and adding extra depth and innovation to the story to cause controversy. Following on entertainment industries, with several already compelling story. from Part 1, drastic changes in the plot learnings and points of reflection for the and characters have divided gamers and whole media industry. The first departure from traditional critics. The choice to let Joel, the brave, storytelling in gaming is provided by stoic and masculine hero of the first title The evolution of The Last of Us is an Joel’s death. His death is sudden, die has upset fans. Furthermore, the example of the industry shifting unexpected and violent. Murdered decision to replace him with characters by Abby, the daughter of one of the Ellie and Abby (Joel’s companion and In Part 1 we played as Joel, a scientists Joel killed to save Ellie in the killer respectively) has triggered additional resourceful survivor travelling across first title, Joel becomes the starting backlash, tentative boycotts and even a post-apocalyptic USA infested by point in a revenge narrative. The death death threats from fans, some of which zombie-like creatures and human of the iconic character has been central has been in response to Ellie’s character scavengers. His mission was to protect to the backlash towards the game, as being openly gay. his partner Ellie (a sarcastic and virus- players refused to accept it, showing “How do we explore all the facets of what it’s like to be 19? You think you’re invincible. You think you know what’s right and wrong in the world. You are sexually attracted to people you’re attracted to... Those are all things we want to explore for this character – that’s how we do honest storytelling.”

Druckmann how decades of franchises focusing on characters in this second title (both such as GamerGate and YouTube the same key characters has created protagonists and secondary characters) channels like Feminist Frequency (which expectations that some gamers move away from stereotypes and the analyses the historical evolution of the struggle to let go (even inducing some over-sexualisation of the female figure, sexist “damsel in distress” and “woman fans to harass and send death threats and display a spectrum of genders as reward” tropes in videogames and to the actress voicing Abby) and and sexualities, including transgender, entertainment) demonstrate these issues. demonstrates the strong fan-character bisexual and homosexual characters. bond games can create. The game also depicts female TLoU2 is an example of the improvements characters is a variety of social roles, of recent years that have led to the The backlash against Joel’s death is including many in positions of power. redesign of iconic characters such as fuelled by the fact that at points in Lara Croft (who in more recent titles has the narrative gamers find themselves Audiences knew about Ellie’s sexual forgone the excessive and unrealistic playing as the character who killed their orientation (as clearly depicted in the curves of earlier instalments in favour of hero, forcing them to identify with the standalone expansion game The Last an athletic, but less sexualised figure) and enemy and to reconsider the concept of of Us: Left Behind), but having female to the use of strong female protagonists in “villain”. There is no doubt that forcing LGBTI+ main characters that break titles such as: Wolfenstein Youngblood, audiences to move away from a clear cut problematic, stereotypical tropes is Uncharted: The Lost Legacy, Horizon: representation of the fictional universe ground-breaking, especially when the Zero Dawn, etc. has been a brave decision by Naughty game lands in a period inflamed by Dog. Playing Abby against Ellie, after controversy about LGBTI+ rights – as Whilst LGBTI+ representation in games having spent hours guiding the young girl exemplified by the Gender Recognition has often been anchored to negative in her revenge is a tough experience. Act Reform in the UK. stereotypes and homophobia, as in Capcom’s 1989 Final Fight, where TLoU2: a tale about women The gaming industry has historically had the potential issue of beating female issues with female representation – enemies is avoided by defining them as The second innovation in the plot is its from the use of mainly male protagonists transgender, or as in Grand Theft Auto representation of women, social roles and hyper-sexualisation of the female V where trans people are the target of and sexualities. Following Joel’s death body, to trolling and negative stereotypes several controversial dialogues. In recent gamers play as Abby and Ellie. The about female gamers. Controversies years the gaming industry has been slowly moving beyond stereotypical objectification of the female body and Game and content creators have the and/or offensive depictions, offering Gamergate, whilst still providing an potential to decide how to embed the possibility to choose a character’s engaging drama rooted in classic tropes culture in their stories, either reaffirming sexual orientation or including non- like vengeance, family, struggle for established values or stereotypes, or heterosexual or binary characters as in: dominance, etc. presenting emergent and controversial The Sims 4, The Walking Dead, Mass societal shifts. Effect 3, Life is Strange, etc. The characters are well rounded, and Ellie’s sexual orientation avoids feeling Regardless of choice, there are some What Makes TLOF2 different is that the tokenistic or out of place in the game, key insights that are important to take LGBTI+ components are embedded as the few romantic scenes between into account. The Last of Us Part 2’s in the narrative, it is not tokenistic or Ellie and her partner don’t feel forced reception encapsulates the findings of presented in a diluted way. However, in and seem to be based on behaviours several Ipsos MORI studies conducted most games the LGBTI+ component is displayed by young people of all by our cultural analysts and qualitative mostly left to secondary characters, to genders and sexual orientations. researchers specialising in gaming and the players’ choice, or as subtext to the content development. main story. Authentic characters and intelligent storytelling are important in making There are four key insights for the Authentic storytelling is key content feel relevant to its audience. gaming industry and content creators at By establishing an ongoing dialogue large to consider when creating content, The third factor in TLoU2’s success is with your audience and keeping a especially if it is potentially divisive: the quality of the storytelling. The same close eye on cultural trends it is possible 1. Compelling storytelling: whether powerful storytelling and character to create content that your audience talking with gaming, TV or cinema development which moved audiences see themselves and their interests audiences, content needs to be in the first title isn’t lost in the second reflected in. engaging, well written and provide part. The game creates a compelling consistent stories that challenge universe and uses its apocalyptic setting Fictional content is a mirror for genre tropes and expectations. A to explore social tensions relevant to dominant and emergent cultural strong narrative with emotionally our contemporary culture, highlighting tensions. Leveraging such tensions can complex characters that develop key issues such as: LGBTI+ rights, define the success or failure of content with the plot has the potential to increase engagement and the be distributed locally or globally, life of a piece of content beyond consider that different cultures and the medium it is experienced in. audiences within the same market “I’d rather Narrative analysis, semiotics and can be sensitive to different topics have people discussions with consumers can and representations. This can be help define clear and relevant stories related to the idea of “beauty” – passionately hate that will resonate with your audience. think about the Japanese Kawaii it than just be like, aesthetic, the use of foul language 2. Leveraging the zeitgeist: there – in Russia it is currently banned, ‘Yeah, it was OK.’” are evolving hot topics which or the use of negative stereotypes reflect the cultural momentum and about a country or ethnicity. Cultural key social tensions. It is key to analysis and deep dives with Druckmann investigate what topics and how consumers can help you spot such your brands and products can sensitivities and find possible ways discuss them without seeming to to mitigate or navigate them. research, cultural analysis and deep “jump on the bandwagon” – as dives with consumers can help you recently happened for many brands 4. Prepare for the backlash: whether prepare for possible controversies who tried to leverage the current your content is playing safe or pushes before they even start. Black Lives Matter campaigns for boundaries, there is always the risk example. Cultural analysis, Ipsos of causing stir. It is key to understand The TLoU2 is one of the hottest games Global Trends and deep dives with what triggers discussions and of the year and reaffirms the importance consumers are a resourceful way backlashes – is there an inaccurate for the gaming and media industries of to navigate the current cultural representation of some audiences, understanding their audience and cultural landscape spotting do’s and don’ts. or is it just divisive because it’s landscape in order to create compelling, challenging? Knowing the reasons innovative and disruptive content. All 3. Be aware of cultural sensitivities: and the audiences behind such content, brands and products are in as highlighted in Ipsos MORI conversations could support you mutual relationship with the culture they Thinks Generation Z: Beyond during content development and inhabit. And controversies, good or bad, Binary, whether your content will marketing strategies. Quantitative are just highlighting it. FOR MORE INFORMATION CONTACT LAMBERTO FERRARA Cultural & Semiotic Strategist [email protected] +44 (0)20 3059 5134

ABOUT THE TEAM Lamberto is a trained semiotician, cultural analyst and qualitative researcher. He applies his expertise in semiotics and cultural analysis to media and technology brands, uncovering how they can leverage cultural context to create compelling YAS ASARE ANDERSON products and content. Associate Director [email protected] Yas’ qualitative career has seen her focus on harnessing +44 (0)20 3059 5275 culture to drive change and inform strategy for media, technology and youth brands. Yas has a particular interest in championing diversity and has won a Virginia Valentine Award for her work within this space.

Preeti has spent most of her career studying socio-cultural changes to help build resilient strategies for brands. She PREETI VARMA believes that the only way for brands to create meaningful Director campaigns is for them to understand the customers’ cultural [email protected] nuances and the impacts of these on society. +44 (0) 7551 3069 29 ABOUT IPSOS OUR MEDIA EXPERTS Ipsos, one of the world’s largest and most innovative research We are a close-knit team of experts who work exclusively agencies, works for a widerange of global businesses and to help you understand the media and tech landscape. many government departments and public bodies. Through our work we leverage our deep understanding We specialise in solving a range of challenges for our clients, of people, society, and culture to make sense of whether related to business, consumers, brands or society. audiences and how they use technology and consume Our areas of expertise range from brand, communication, entertainment. media, innovation and healthcare research through to customer experience, corporate reputation and social and We work with integrated data sources and curated political research. insights to contextualise your business challenges, so we are in the best position to help shape your strategy and At Ipsos we are passionately curious about people, markets, ultimately create greater impact. brands and society. We deliver information and analysis that make our complex world easier and faster to navigate and inspire our clients to make smarter decisions.