The Last of Us Part 2 is probably the most divisive sequel I've ever seen in my entire life playing games... which has been most of my life. Why do people hate The Last of Us Part 2? Why do people say that the story sucks? In this video, I try to break down the entire story of The Last of Us 2 on a high level and analyze why people feel so strongly against the game, and why I am a big fan of it myself.

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More about the criticism of The Last of Us Part 2:

The Last of Us Part II was praised for its improved gameplay, graphical fidelity, characterization, cast performances, audio design, and music, though critics were polarized on the narrative and themes. Jonathon Dornbush of IGN called it "a masterpiece worthy of its predecessor" and wrote that "it delivers a layered, emotionally shattering story on top of stealth and action gameplay that improves the first game's mechanics [... and] still makes time for a stunning, nuanced exploration of the strength and fragility of the human spirit". Game Informer's Andy McNamara concurred, calling it "the best narrative game I have played" and "a sequel unlike any other, taking video game storytelling to new heights." Kaity Kline of NPR wrote that the game "made me very aware of the little things in my life that I take for granted, the kinds of things you don't appreciate until they're ripped away forever".[67] GameSpot's Kallie Plagge called it "beautiful and devastating", and wrote that "the more I reflect on it, the more I appreciate the story and characters at its core".

The narrative and writing polarized critics. Game Informer's McNamara felt that the writers conveyed the themes "with careful nuance and unflinching emotion". Destructoid's Chris Carter and VG247's Kirk McKeand applauded the use of minor dialogue to echo the game's themes.[5][63] Sammy Barker of Push Square particularly praised the use of flashback and overlapping stories;[66] The Guardian's Keza MacDonald concurred, describing the narrative as "emotionally effective". Conversely, GameRevolution's Michael Leri thought that the flashbacks were evidence of pacing problems. Alex Avard of GamesRadar+ felt that the narrative lost its momentum during its need to finalize every story thread.[65] USgamer's Kat Bailey found the latter half to be noticeably slow, noting that the game was five hours "too long". Bailey also criticized the dissonance between the game's statement against violence while also necessitating it during gameplay. Polygon's Maddy Myers and Kotaku's Riley MacLeod opined that the game repeatedly delivered its themes without allowing the player any agency in their decisions. Rob Zacny of Vice wrote that, despite the amount of narrative moments in the game, "it doesn't have much to say". Also writing for Vice, Emanuel Maiberg opined that the attempts to parallel the Israeli–Palestinian conflict through the WLF and Seraphites were poor, particularly in its allegorical representation of two equal sides.

McKeand of VG247 described every character as "complex and human". Destructoid's Carter felt empathetic to the main characters, a sentiment echoed by IGN's Dornbush, who found Ellie's development particularly "riveting". Kotaku's MacLeod appreciated the diversity of characters. McNamara of Game Informer found the occasional absence of supporting characters alarming, having grown close to them. Andrew Webster of The Verge praised the relationship between Ellie and Dina, though noted some dissonance in the former's behavior between gameplay and cutscene. Similarly, GameSpot's Plagge found Abby's character development incongruous with her "onslaught of combat against human enemies". Polygon's Myers and Vice's Zacny criticized the characters' inability to learn from their mistakes. Yannick Le Fur of Jeuxvideo.com wrote that supporting characters such as Jesse and Manny lacked development and were simply used to advance the narrative.

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