In contrast to the original game, The Last of Us Season 2 omitted portraying two particularly gruesome deaths, and there was a valid explanation behind this decision by the show’s creators.
The show didn’t shy away from intense violence: In episode 2 alone, Joel was mercilessly killed, and the remaining episodes didn’t hold back on dark visuals either.
In contrast, Craig Mazin and Neil Druckmann chose to spare the lives of two characters: Shimmer, Ellie’s horse who was injured by a landmine and shot in The Last of Us Part 2, and Alice, a WLF dog who was hurt by Ellie upon her arrival at the aquarium.
In Season 2, Alice was nowhere to be found, and though there’s speculation about her reappearance in Season 3’s dog walks, it’s unlikely that anything harmful will befall her.
Why The Last of Us Season 2 didn’t kill Alice the dog
As a devoted admirer, I’d like to highlight that it was Mazin who masterfully crafted the HBO series, “Chernobyl.” One gripping episode focuses on the heart-wrenching act of euthanizing dogs to halt the propagation of radiation.
“I think you get like one dog murdering episode a lifetime,” Mazin told Polygon.
In Hollywood, there are two key guidelines: a) Avoid spending your personal funds, and b) Refrain from harming any dogs.
In a more solemn discussion, Mazin pointed out that depicting the killing of a dog in a live-action series tends to have a stronger emotional impact on viewers. Recognizing how intense and distressing the Season 2 finale is already, he and Druckmann decided it would be too emotionally taxing for the audience to witness Ellie killing a dog.
I can’t help but ponder over Alice (alongside her octopus companion) as she was undeserving of the outcome that befell her. #TheLastofUs #TheLastofUsPartII 💔
— Naughty Dog World (@NaughtyDogWorld) April 17, 2024
Moreover, since it’s real-life footage, the depiction of violence turns out to be significantly more intense or vividly realistic, as mentioned by Mazin.
The experience is more vivid because… there’s no animation interacting with you, and it’s quite unsettling.”
“It’s more visually intense due to the lack of interactive animation, and it’s quite disturbing.
In a recent chat with Comic Book, I found myself expressing that it seems we’re treading a fine line between engaging our audience and potentially crossing into excessive or exploitative territory. I wouldn’t want us to stray too far or feel like we’ve overstepped any boundaries, so I believe making thoughtful choices is key in such situations.
Druckmann added: “In our conversation, we’re like, ‘This [is] probably one too many.”
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2025-05-28 14:18