The Last of Us is beautiful and immersive, and these features are only accentuated by its re-release for the new generation of PlayStation consoles. But that's only part of the appeal. Many big-budget video games see narrative and characterisation as a sort of necessary glue to hold interactive segments together. But The Last of Us places the writing front and centre. "I'd been thinking about parents," its writer-director, Neil Druckmann, says, "and the kind of inexplicable love they have for their children. How probably, when push comes to shove, they'd do unspeakable things to protect their children. Can we, I thought, make the player feel the same way?"