The Last of Us: The Quarantine Zone Part 1: Robert and the Real Tutorial

Given that there's a twenty year gap between the events of the prologue and the main story, there's a lot of stuff that happens. Rather than spending too much time really delving into it through many exposition dumps and drawn out cutsenes, much of the pertinent information is thrown in during the opening credits. Through a series of news reports, we find out the basics of the world we're about to inhabit. A fungal infection has spread at a rapid rate, turning its hosts into mindless zombies, essentially. We also get some political history, with the news also reporting on government and military responses, as well as the emergence of the Fireflies, a group of people who feel the government has been brutal in the name of "safety."

That's it. That's all we get. We don't find out much more in detail because it doesn't really matter. All we need to know is the world we find ourselves in. There will be nuggets of backstory throughout the game, but a big chunk of what makes Joel and the world so intriguing is that it retains some sense of mystery. We don't know what Joel has been through, but we can form some idea. It's a perfect example of how sometimes, less is more in fiction.

Now controlling Joel, whose introduction here is not too different than Sarah's (wakes up, gets out of bed, and stumbles around for a moment), we're given our introductory mission. Long story short, we have to track down this guy Robert. Again, the level eases us into things, giving us a low-stakes means to get a grasp on the movement and camera controls. Walking and looking around the Boston quarantine zone gives us more of an idea as to what has been happening in the past twenty years. This itself informs the player that taking the time to explore these environments will yield narrative results. This section also introduces us to optional conversations. 

There are conversations you overhear just exploring, but this section also introduces us to our first optional interactive one, also reminding us that the triangle button is our key to interacting with the world around us.

This section in the quarantine zone is a more full tutorial section, introducing more complex gameplay elements, including combat, stealth, listening, and using items. As such, it makes sense that the player is not "in charge" from a narrative perspective. Just like the prologue, Joel is following. This time, he's following his (probably) girlfriend Tess, who is quickly established as a tough chick who can hold her own. She's the leader here. You're just following her. This allows for a tutorial that might be a tad clunky to blend in with the narrative side of things. While the text prompts are a bit disruptive to the gameplay, at least the tutorial bits don't clash jarringly with the story, maximizing the immersion.

When you go through the tunnels, preparing to go outside the QZ, the game also establishes another reality: supplies will be limited. As Joel picks up his backpack and checks his firearm, he makes a comment about how there is not a lot of ammo left, which causes Tess to suggest he make his shots count. Though just a passing, slightly humorous line, it informs the player what time of game this is going to be. Not a straight up survival horror, it does lift elements from it. Limiting supplies, especially ammunition, goes a long way to increasing tension and suspense in the player as they progress through levels. 

Right after that, they introduce another reality: cooperation. To advance, Joel must give Tess a boost, then wait for Tess to help him up too. It's a cooperative game from start to finish, but your partner is going to be an AI. The player has no say here, which has its pros and cons. Really, this moment just establishes that you are always going to be working in tandem with another character.

A good chunk of this early section highlights one of the more interesting and compelling elements of the game. While the action and stealth moments are typically the "fun" part, and the most traditional game moments, they are careful to always provide some lulls. This is critical in keeping dynamic pacing, as well as allowing the players to breath. The designers clearly recognize the value in being able to stop and smell the roses, and that's exactly what they do throughout. 

The first house you enter after finding the later throws in a few resources and artifacts to collect. The maps are expertly crafted, always careful to be open enough that it encourages looking around, but small enough that you won't get lost or distracted from your destination. This isn't an open world game, and it's focus is on the characters and story, so it needs to be careful and find that balance. Including a few side rooms in the first house is an example of that. Nothing too crazy; just a couple of rooms. Yet it encourages the player to take a look rather than just moving straight to the next waypoint.

Worth noting the rapport between Joel and Tess. Given how cold he comes off to strangers, it seems a bit unusual to see him joking around with Tess. This sets up that Joel is cautious, but if you can get close to him, he's just a normal person. He'll defend you and joke with you and even do what you tell him to do. He's cooperative and friendly, but it's primarily because the two clearly have a relationship.

Being this section is also the real tutorial, they make it a point to present scenarios that force you to use other controls. For example, you have to move a couple of objects (reminding you that you can interact with some things), you'll have to crouch, then shimmy to advance. Once they put the finishing touches on the slightly more complex movements, they introduce combat. 

Your first encounter with infected in terms of gameplay teaches you how to hone your listening (which helps keep track of them when you can't see them), then teaches you how to sneak up. This section is specifically telling the player about the value of stealth and caution. The first infected is set up so that he is easy to take down quietly. The other two infected are there to offer a fight should you get careless and create a lot of noise. The map is also a bit disorienting, and if you're not careful, you can draw their attention and find yourself in a fistfight with infected.  After that, you're once again treated to a lull, giving you a chance to breathe.

We also get our introduction to planks. Every once in a while, The Last of Us tries to pull off some puzzles, but largely they just require moving a plank. The puzzles in the game are not terribly exciting. In fact, they often come off as a waste of time. This is one of the elements that can sometimes break immersion by standing out as more "gamey" elements. 

It can't be understated the value in dialogue that occurs in gameplay. Tess and Joel talk to each other, and to others around them, but the game doesn't get interrupted to do so. They walk and talk, allowing you to continue to look around and actually play the game while the game fills in some character and story elements at the same time. Cutsenes are used to hammer home emotional moments or for to enhance subtlety of character or story beats. The designers recognize they have to walk a fine line between keeping control in the player's hands while also being able to deliver critical story moments. By and large, they're successful at finding this balance.

The next bit of action runs opposite to the infected. Now, you're fighting Robert's men, where the game forces you into a shootout. Where the first bit was supposed to emphasis the value of stealth, this first encounter with Robert's men emphasizes shootouts and fighting. Though many sections of the game allow for one style or the other, leaving it up to the player, there will be moments throughout where you have to take up one style. There will be shootouts and action-oriented moments, just as there will be sections where you're vastly outnumbered and staying hidden is key. This brief introduction is a little sloppy though. For starters, Tess tells you to try and flank them using cover, but it's not uncommon for the AI to follow you. If Tess follows you, it defeats the point of the flanking maneuver. Instead of having Tess keep their focus while you wrap around, it sometimes winds up simply drawing their attention somewhere else.  As a result, it can cause skepticism in the dependability of your AI team mate. 

After though, the game throws you in full. You've learned the value of sneaking. You've learned how to handle yourself in a firefight. Now, they present you with player's choice. Dealing with more of Robert's crew, they provide you with a large map and a variety of ways to approach it. In my view, it more encourages stealth, especially the first bit where they teach you about throwing bottles and bricks as distractions. It's worth taking that analysis with a grain of salt because I prefer stealth-based games in the first place. Any time I'm given an option of stealth, I try to take it, so as a player, I'm more naturally inclined to go that route either way.

One of my favorite moments here involves hiding behind a crate with Tess as two thugs pass. One of them is talking about how you guys are on your way, warning the rest of the men to be careful. He makes a comment about Tess took out two men. If you're paying attention, you can see Tess look at Joel and give a little shrug. It's great! It's that kind of subtlety that gets accomplished in those brief moments where they take away player control. (You can't move at that point, though you can look around with the camera, so be careful not to miss it!)

The docks encourage stealth, but make it open enough that it's actually pretty challenging to take everyone out quietly. Odds are, you'll have to learn to adjust your strategy on the fly and recover from costly mistakes. This segment is great at presenting the fact that it's ultimately your choice on how you want to play through most levels. Certainly, it's one of the strengths of the game, and this section also demonstrates how carefully and intelligently created the maps are. Big and open with enough cover, all of this provides the player with options. 

This section concludes when you find Robert, to which Tess ruthlessly kills him. Turns out, he's taken the guns he owes you and sold them to the Fireflies. Marlene, the leader of the Fireflies, presents a deal. Run a mission for her, and you get your guns. It's a classic tit for tat device found in almost every single video game ever. This is where the game truly begins.