The Last of Us Part II is a game that is deeply invested in the minutiae of its characters. The pain they cause, the things that drive them, and the particularities of their self-destruction and salvation. The game’s commitment to the true nature of individuals within its story is what makes each vicious pull of the trigger as affecting as each silent moment of grief.

我們第二部分的 噸 他最后是深深投入它的字符的細枝末節游戲。 它們造成的痛苦，驅動它們的事物以及自我毀滅和救贖的特殊性。 游戲對故事中個人真實本質的承諾，是使觸發的每一次惡性拉動都像悲傷的每個沉默時刻一樣影響著游戲。

The Last of Us Part II sets the interpersonal dramas of its characters against a broader conflict and world. It manages to deftly scale its themes to both the macro and the micro level, showing how things like grudges, bigotry, and ‘truth’ flow freely from the individual to the community and vice-versa. As much as writers Neil Druckmann and Halley Gross have crafted a tale which is inextricably linked to its participants, The Last of Us Part II’s exploration of its themes is universal, something which shines through in the game’s myriad references.

《我們的最后》第二部分將人物角色的人際交往劇情與更廣泛的沖突和世界作對。 它設法將其主題巧妙地擴展到宏觀和微觀兩個層面，顯示出怨恨，偏執和“真相”之類的事物如何從個人自由地流向社區，反之亦然。 正如作家尼爾·德魯克曼(Neil Druckmann)和哈雷·格羅斯(Halley Gross)精心設計的故事與參與者有著千絲萬縷的聯系， 《我們的最后一部分 》對主題的探索是普遍的，在游戲的無數參考中都可以看到。

Beyond the words, deeds and repercussions of the game’s script are references to hundred year old folk songs and one of the most famous American paintings of the 20th century. They serve as touchstones to some of The Last of Us Part II’s themes like grief, and meaning in the face of death.

除了游戲腳本的文字，行為和影響之外，還引用了幾百年的民歌和20世紀最著名的美國畫作之一。 它們是《我們最后的回憶》第二部分主題的試金石，例如悲傷和面對死亡的意義。

游蕩陌生人 (Wayfaring Stranger)

The earliest emergence of Wayfaring Stranger in The Last of Us universe occurred at PSX 2017, when the actors behind the performances of Ellie and Joel (Ashley Johnson and Troy Baker, respectively) performed the song live on stage. The song — of the American folk tradition — has its earliest publication in 1858, but with roots that run far older. Wayfaring Stranger has cover versions from the likes of Johnny Cash, but has also recently found a resurgence via it’s performance during the film 1917, in which it soundtracks a moment of respite.

行路人陌生人在我們的最后宇宙最早出現發生在2017年PSX，當埃莉和喬爾(阿什利·約翰遜和特洛伊·貝克，分別)的表演背后的演員們表演的歌曲活在舞臺上。 這首歌具有美國民俗傳統，最早于1858年發行，但其根源遠比這更古老。 Wayfaring Strange r具有Johnny Cash之類的翻唱版本，但最近還通過其在1917年電影中的表演獲得了復興，在其中回蕩了片刻。

I am a poor wayfaring stranger

我是一個可憐的路人

While traveling through this world of woe

穿越這個災難世界

Yet there’s no sickness, toil or danger

但是沒有疾病，辛勞或危險

in that bright world to which I go.

在那個我要去的光明世界里。

I’m going there to see my father

我去那里看我父親

I’m going there no more to roam

我要去那里漫游

I’m only goin’ over Jordan

我只是去喬丹

I’m only goin’ over home.

我只是去家里。

I know dark clouds were headin’ around me

我知道烏云籠罩著我

I know my way is tough and steep

我知道我的路艱難險峻

Yet beautious fields lie just before me

然而美麗的領域就在我眼前

Where God’s redeemed their vigils keep.

上帝救贖他們守夜的地方。

It’s not hard to see the connections Wayfaring Stranger has to the protagonist of The Last of Us Part II, Ellie. The instrumentation of the song is stark and lonely, and as much as Ellie’s journey includes others, her choices paint her as a woman isolated. Ellie is of a piece with the song though her hard and sometimes tortuous path in life, and the song’s single minded view to death being a release.

不難看出，《 游蕩的陌生人 》與《最后的我們》第二部的主人公埃莉(Ellie)之間有著聯系 。 這首歌的演奏是鮮明而寂寞的，而且與艾莉的旅程一樣，她的選擇也將她描繪成一個孤立的女人。 盡管她的人生道路艱難曲折，但Ellie卻與這首歌很像，這首歌對死亡的一心一意是一種釋放。

Ellie is adrift in life. She’s someone who sees their life as something robbed of meaning by the person they grew to love the most. Her search for meaning receives a denial of closure after the murder of Joel, and the severed nature of their reconciliation plunges her even deeper into darkness. This ultimately culminates in what is basically a death-wish journey for justice against the game’s other protagonist, Abby.

艾莉在生活中漂泊。 她是一個將自己的生活視為被長大后最愛的人失去意義的人。 喬爾(Joel)被謀殺后，她對意義的追求遭到拒絕，而且和解的嚴格性質使她更加陷入黑暗。 最終，這最終是對游戲另一主角艾比(Abby)伸張正義的一條求死之旅。

With her soul torn apart by grief, Ellie is left to buffet wildly in a storm of rage and hatred. Whether her meaning is found through the killing of Abby or otherwise — what is left for Ellie but death? As someone like the Wayfaring Stranger, Ellie has possibly already accepted that this revenge journey may be the death of her.

悲傷使她的靈魂四分五裂，埃莉在憤怒和仇恨的風暴中瘋狂地自助餐。 她的意思是通過殺死艾比還是通過其他方式發現的-艾莉只剩下什么？ 像Wayfaring Stranger這樣的人，Ellie可能已經接受了這次復仇之旅可能是她的死亡。

But it’s not Ellie’s path in life which ultimately defines her. Not her brutality or her tenderness. She is a character who has always sought, always wondered, and it’s in another of The Last of Us Part II’s artistic references we can see the truth of Ellie.

但是，最終決定她的不是埃莉的人生道路。 不是她的殘酷或溫柔。 她是一個一直追求，一直想知道的角色，在《我們最后的回憶》第二部分的藝術參考中，我們可以看到艾莉的真相。

克里斯蒂娜的世界 (Christina’s World)

The moment when Christina’s World is revealed to you in The Last of Us Part II felt, for this writer, unforgettable. As one of the most famous paintings of the 20th century, Christina’s World by Andrew Wyeth has been referenced and replicated in everything from Forrest Gump to…well, The Last of Us Part II. After her confrontation with Abby in the Seattle theatre, Ellie returns to a farm near Jackson, Wyoming, to attempt a peaceful life with her partner Dina and baby JJ.

克里斯蒂娜的世界在《最后的我們》第二部分中向您揭示的那一刻，對這位作家而言，是令人難忘的。 作為20世紀最著名的畫作之一，安德魯·惠斯(Andrew Wyeth)創作的《 克里斯蒂娜的世界》 ( Christina's World)被引用并復制到從《 阿甘正傳》到《我們最后的第二部分》中的所有內容 。 在西雅圖劇院與艾比(Abby)面對面后，艾莉(Ellie)回到懷俄明州杰克遜(Jackson)附近的一個農場，與她的伴侶狄娜(Dina)和嬰兒JJ嘗試和平生活。

The land surrounding the farm is awash in a golden sea of wheat, bathed in light that would look almost biblical if it weren’t for the fact we know the world of The Last of Us is god-forsaken. In one sequence, before Ellie’s illusion of domestic bliss is shattered by Tommy’s return, the game frames Ellie against that golden sea with the farmhouse cresting the hillside.

農場周圍的土地被一片金黃的麥子海水淹沒，沐浴在光線下，如果不是因為我們知道《我們的最后》的世界是被上帝拋棄的事實，那看起來幾乎符合圣經。 在一個序列中，在艾莉對家庭幸福的幻想被湯米的歸來粉碎之前，游戲將艾莉與農舍頂在山坡上，映襯在金色的大海上。

Upon Ellie’s return from Santa Barbara, and a final realisation of what her revenge has cost her, Ellie stands at the gates of a farmstead now home to no-one. Dina has left with JJ; the house cleared of all possessions save for a single room containing Ellie’s paintings, music, and guitar. Ellie attempts to use the instrument, but with her injuries sustained from her time in Santa Barbara, the notes don’t play. The song is unfinished.

埃莉(Ellie)從圣芭芭拉(Santa Barbara)返回后，對她的報復使她付出了最終代價，埃莉(Ellie)站在一個如今沒人居住的農莊門口。 迪娜已經離開了JJ； 這座房子除了擁有一間包含Ellie的繪畫，音樂和吉他的房間外，清除了所有財產。 艾莉(Ellie)嘗試使用該樂器，但由于在圣塔芭芭拉(Santa Barbara)的生活受到了重創，因此這些音符無法播放。 這首歌未完成。

When speaking about the female subject of Christina’s World, a real woman who suffered a degenerative muscle condition, Wyeth said “the challenge to me, was to do justice to her extraordinary conquest of a life which most people would consider hopeless”. Beyond the comments of the artist, the painting has come to symbolise a powerful sense of longing. To those familiar with the extremes of both Ellie’s traumas and her broader circumstances, Naughty Dog’s decision to reference the painting so directly is clear.

在談到克里斯蒂娜世界的女性主題時，惠斯說， 克里斯蒂娜的世界是一名患有變性肌肉疾病的真實女性，她說： “對我的挑戰是，對她對大多數人認為絕望的生活的非凡征服伸張正義” 。 除了畫家的評論外，這幅畫還象征著一種強烈的向往感。 對于那些熟悉埃莉的創傷和更廣闊的環境的人來說，頑皮狗決定直接引用這幅畫的決定是顯而易見的。

The impact that Christina’s World seems to have on the game’s farmhouse sequences is nuanced and multifaceted. Ellie’s longing evolves over the game from a need for meaning to a need for absolution, justice, and peace. When Ellie first stood before that farmhouse, a few weeks after her confrontation with Abby in Seattle that nearly cost the lives of Dina, the unborn JJ, and herself, she probably longed for peace. For the pain inside her to go, for the nightmares to stop. When she stands for the final time at that farm-house, what exactly does she long for? The ambiguity of such palpable emotion unites Christina’s World and this moment of Ellie’s journey.

克里斯蒂娜的世界似乎對游戲的農舍序列產生了微妙和多方面的影響。 Ellie對游戲的渴望從對意義的需求到對赦免，正義與和平的需求的演變。 當艾莉(Ellie)第一次站在那間農舍前時，在西雅圖與艾比(Abby)發生沖突幾周后，這幾乎使迪娜(Dina)，未出生的約翰遜(JJ)和她自己喪生，她可能渴望和平。 為了她內心的痛苦，為了噩夢而停止。 當她站在那間農舍的最后一刻時，她到底想要什么？ 這種明顯的情感含糊不清將克里斯蒂娜的世界和埃莉旅程的這一時刻結合在一起。

For me, this framing at the conclusion of The Last of Us Part II provides the defining moment of Ellie’s character. While the final shot starts her reckoning with her inner turmoil, as Ellie departs the farmhouse, she remains tragic in that her longing remains unanswered. Her resilience against the brutal world of The Last of Us Part II compromised by her reaction to it.

對我而言， 《最后的我們》第二部分的結論為艾莉的性格提供了決定性的時刻。 當最后一擊開始她的內心動蕩時，艾莉(Ellie)離開農舍時，她仍然悲慘，因為她的渴望一直沒有得到解決。 她對《 我們最后的力量》第二部分殘酷世界的應變能力因她的React而受到損害。