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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.

我们第二部分的 吨 他最后是深深投入它的字符的细枝末节游戏。 它们造成的痛苦，驱动它们的事物以及自我毁灭和救赎的特殊性。 游戏对故事中个人真实本质的承诺，是使触发的每一次恶性拉动都像悲伤的每个沉默时刻一样影响着游戏。

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.

《我们的最后》第二部分将人物角色的人际交往剧情与更广泛的冲突和世界作对。 它设法将其主题巧妙地扩展到宏观和微观两个层面，显示出怨恨，偏执和“真相”之类的事物如何从个人自由地流向社区，反之亦然。 正如作家尼尔·德鲁克曼(Neil Druckmann)和哈雷·格罗斯(Halley Gross)精心设计的故事与参与者有着千丝万缕的联系， 《我们的最后一部分 》对主题的探索是普遍的，在游戏的无数参考中都可以看到。

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.

除了游戏脚本的文字，行为和影响之外，还引用了几百年的民歌和20世纪最著名的美国画作之一。 它们是《我们最后的回忆》第二部分主题的试金石，例如悲伤和面对死亡的意义。

This article contains spoilers for The Last of Us Part II. 本文包含《我们的最后一部分》第二部分的剧透。

游荡陌生人 (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.

行路人陌生人在我们的最后宇宙最早出现发生在2017年PSX，当埃莉和乔尔(阿什利·约翰逊和特洛伊·贝克，分别)的表演背后的演员们表演的歌曲活在舞台上。 这首歌具有美国民俗传统，最早于1858年发行，但其根源远比这更古老。 Wayfaring Strange r具有Johnny Cash之类的翻唱版本，但最近还通过其在1917年电影中的表演获得了复兴，在其中回荡了片刻。

I am a poor wayfaring stranger

我是一个可怜的路人

While traveling through this world of woe

穿越这个灾难世界

Yet there’s no sickness, toil or danger

但是没有疾病，辛劳或危险

in that bright world to which I go.

在那个我要去的光明世界里。

I’m going there to see my father

我去那里看我父亲

I’m going there no more to roam

我要去那里漫游

I’m only goin’ over Jordan

我只是去乔丹

I’m only goin’ over home.

我只是去家里。

I know dark clouds were headin’ around me

我知道乌云笼罩着我

I know my way is tough and steep

我知道我的路艰难险峻

Yet beautious fields lie just before me

然而美丽的领域就在我眼前

Where God’s redeemed their vigils keep.

上帝救赎他们守夜的地方。

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.

不难看出，《 游荡的陌生人 》与《最后的我们》第二部的主人公埃莉(Ellie)之间有着联系 。 这首歌的演奏是鲜明而寂寞的，而且与艾莉的旅程一样，她的选择也将她描绘成一个孤立的女人。 尽管她的人生道路艰难曲折，但Ellie却与这首歌很像，这首歌对死亡的一心一意是一种释放。

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。 她是一个将自己的生活视为被长大后最爱的人失去意义的人。 乔尔(Joel)被谋杀后，她对意义的追求遭到拒绝，而且和解的严格性质使她更加陷入黑暗。 最终，这最终是对游戏另一主角艾比(Abby)伸张正义的一条求死之旅。

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.

悲伤使她的灵魂四分五裂，埃莉在愤怒和仇恨的风暴中疯狂地自助餐。 她的意思是通过杀死艾比还是通过其他方式发现的-艾莉只剩下什么？ 像Wayfaring Stranger这样的人，Ellie可能已经接受了这次复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，最终决定她的不是埃莉的人生道路。 不是她的残酷或温柔。 她是一个一直追求，一直想知道的角色，在《我们最后的回忆》第二部分的艺术参考中，我们可以看到艾莉的真相。

克里斯蒂娜的世界 (Christina’s World)

‘Christina’s World’ — Andrew Wyeth (1948). “克里斯蒂娜的世界”-安德鲁·惠斯(Andrew Wyeth，1948年)。

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《最后的我们》第二部分中向您揭示的那一刻，对这位作家而言，是令人难忘的。 作为20世纪最著名的画作之一，安德鲁·惠斯(Andrew Wyeth)创作的《 克里斯蒂娜的世界》 ( Christina's World)被引用并复制到从《 阿甘正传》到《我们最后的第二部分》中的所有内容 。 在西雅图剧院与艾比(Abby)面对面后，艾莉(Ellie)回到怀俄明州杰克逊(Jackson)附近的一个农场，与她的伴侣狄娜(Dina)和婴儿JJ尝试和平生活。

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.

农场周围的土地被一片金黄的麦子海水淹没，沐浴在光线下，如果不是因为我们知道《我们的最后》的世界是被上帝抛弃的事实，那看起来几乎符合圣经。 在一个序列中，在艾莉对家庭幸福的幻想被汤米的归来粉碎之前，游戏将艾莉与农舍顶在山坡上，映衬在金色的大海上。

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)从圣芭芭拉(Santa Barbara)返回后，对她的报复使她付出了最终代价，埃莉(Ellie)站在一个如今没人居住的农庄门口。 迪娜已经离开了JJ； 这座房子除了拥有一间包含Ellie的绘画，音乐和吉他的房间外，清除了所有财产。 艾莉(Ellie)尝试使用该乐器，但由于在圣塔芭芭拉(Santa Barbara)的生活受到了重创，因此这些音符无法播放。 这首歌未完成。

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.

在谈到克里斯蒂娜世界的女性主题时，惠斯说， 克里斯蒂娜的世界是一名患有变性肌肉疾病的真实女性，她说： “对我的挑战是，对她对大多数人认为绝望的生活的非凡征服伸张正义” 。 除了画家的评论外，这幅画还象征着一种强烈的向往感。 对于那些熟悉埃莉的创伤和更广阔的环境的人来说，顽皮狗决定直接引用这幅画的决定是显而易见的。

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对游戏的农舍序列产生了微妙和多方面的影响。 Ellie对游戏的渴望从对意义的需求到对赦免，正义与和平的需求的演变。 当艾莉(Ellie)第一次站在那间农舍前时，在西雅图与艾比(Abby)发生冲突几周后，这几乎使迪娜(Dina)，未出生的约翰逊(JJ)和她自己丧生，她可能渴望和平。 为了她内心的痛苦，为了噩梦而停止。 当她站在那间农舍的最后一刻时，她到底想要什么？ 这种明显的情感含糊不清将克里斯蒂娜的世界和埃莉旅程的这一时刻结合在一起。

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.

对我而言， 《最后的我们》第二部分的结论为艾莉的性格提供了决定性的时刻。 当最后一击开始她的内心动荡时，艾莉(Ellie)离开农舍时，她仍然悲惨，因为她的渴望一直没有得到解决。 她对《 我们最后的力量》第二部分残酷世界的应变能力因她的React而受到损害。

翻译自: https://medium.com/super-jump/journey-of-the-wayfaring-stranger-ddc252902b90

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