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Światotwórcze funkcje rekwizytu. Collectibles w dylogii „The Last of Us” jako źródło wiedzy o przeszłości

100%
Pigulak J., Pigulak M.
Przestrzenie Teorii
|
2023
|
issue 40
129-151
EN
The article concerns the functioning of selected collectibles in the post-apocalyptic dilogy of digital games The Last of Us (Naughty Dog, 2013–2020). The authors make a typology of collectibles and distinguish among them props that support the gameplay, characterize the characters and extend the storyworld, referring to the prop theory proposed by Kendal Walton. They are particularly interested in the last type of props, which include notes, diaries and letters left in various places of the world presented by anonymous members of the American community. The authors indicate that these props can be treated as specific artifacts of the past, which, although not important from the gameplay perspective, perform important world-creating functions. In this context, they describe collectibles as an element of historical culture (J. Rüsen) and a source of social memory (M. Golka), and discuss their allotopic potential (U. Eco, K.M. Maj). They refer to those props that shape the history and mythology of the post-apocalyptic world, and especially to the notes describing Outbreak Day, the apogee of the pandemic disease that decimated humanity in the game. Written sources are of a personal nature – they present an individual perspective on a breakthrough moment in the history of the depicted world. For this reason, the authors refer to them as ego-props, thus extending the concept of ego-document.
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Environmental Engagement and the Ecodystopian Narrative: The Last of Us and Its Anthropocenic Echoes

89%
Verheul P.
|
2025
|
vol. 8
|
issue 1
50-63
EN
This paper explores the representation of Nature in the digital game The Last of Us as subversive of established ecodystopian tropes, providing a strong critique of anthropocentrism through its depiction of a world in which humanity is no longer on top. The paper focuses on the first digital game in the duology, with intertextual analysis of the second instalment and the HBO adaptation to support the framing of key concepts. While ecodystopian fiction commonly depicts environmental decline and scarcity to show the consequences of unbridled anthropocentrism, The Last of Us instead presents a world with abundant Nature that has turned hostile to humanity. Through an analysis of Nature’s characteristics within the digital game, through the scope of ecocriticism and Marxist literary theory, this paper argues that the narrative at hand makes complex environmental concerns tangible through an immersive, post-apocalyptic landscape wherein Nature has become both monstrous and sovereign. The paper furthermore posits that the mycomonstrous antagonist, the Infected, is Nature personified, reflecting ecological negligence, capitalist overreach and anthropocentric hubris. Through its interactive format, The Last of Us functions as a narrative-driven medium that critically provides echoes of anthropocentric capitalist actions and their consequences, refuting the end of Nature through humanity.
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