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Even more frightening than the monsters within the fungus filled post apocalyptic world ofThe Last of Usis the supposed curse of the video game adaptation. There’s a long and prominent history of poorly executed failures stretching all the way back to 1993’sSuper Mario Bros. Admittedly, I have a soft spot for that film as an absurdly fun and nonsensical nostalgia ride. Yet, few (if any) adaptations have succeeded in crafting a story that feels purposeful in its execution. This is one, of many, waysThe Last of Usstands apart from its predecessors.
The Last of Usnever feels like a desperate cash grab, utilizing the recognition of established IP to get viewers’ eyes on the screen. Each episode is important, impactful and continues the story and arc of its characters in relevant ways. Playing as Nathan Drake while leaping forward across cargo boxes dangling from an airplane thirty-five thousand feet in the air makes for a fun gaming experience; however, it doesnottranslate outside of that gaming world without resulting in a clunky, physics defying moment of idiocy.
HBO’sThe Last of Usgets a slight head start over its competition because its source material is already incredibly cinematic.One of the game’s greatest strengths is in its story. Rather than relying strictly on gameplay to entertain, it pulls players in with realistic and well rounded characters facing impossible odds. It’s the relationship between Joel and Ellie that hooks us and the series uses this same dynamic to craft impeccable drama.
Earth is no longer what it was. An unstoppable spread of deadly fungi with parasitic properties has begun wiping out the human population. Joel, played by an especially brooding Pedro Pascal, is among the few remaining people, trying to survive in a ravaged and increasingly savage world. Small towns of survivors live in fear under the oppressive thumb of military rule. Joel’s life is uprooted even further when a member of the rebellion team known as Fireflies asks him to smuggle a teenaged girl named Ellie (Bella Ramsey) out of the city.
Also Read:5 Heart-Breaking Moments From The Last Of Us That We Aren’t Ready To Relive
Post apocalypse stories are a dime a dozen. No year passes without a handful of new attempts, and the zombie genre (whichThe Last of Usloosely fits into) has become increasingly popular since Danny Boyle’s28 Days Laterlaunched a resurgence back in 2003. ButThe Last of Usworks so well for the same reasons thatChildren of Mendid nearly two decades ago. There are so many comparisons to be made between these two properties. A post apocalyptic world filled with danger. Check. A man smuggling a young woman through a treacherous environment. Check. Bleak, yet strikingly beautiful visuals. Check.
But most importantly, they’re both stories about hope. Sure, that sounds vague and cliché, but it’s true and it works. It’s finding hope in a world that seems hopeless that givesThe Last of Usthe emotional weight and compelling plot it needs. And that hope stems from the growing bond between a rambunctious teen (Ellie) and a closed off old man who’d given up on everything (Joel).
I was no stranger to Sony’sThe Last of Us,having first played the game upon it’s remastered 2014 release for the PlayStation 4. However, I decided to revisit the game to coincide with my viewing of the series, and what resulted was an incredibly unique experience that allowed me to appreciate the brilliance of the adaptation even more. This is, without a doubt, the most faithful video game adaptation we haveeverreceived. Exact lines of dialogue and imagery are recreated proving that when the source material isthisgood, there’s no need for drastic change.
Pedro Pascal was justbornto play a cold hearted killer forced to protect a young child. He revitalized theStar Warsfranchise withTheMandalorianand he’s given hope to the future of video game adaptations withThe Last of Us.Is there anything he can’t do? If so, I hope we never find out. All I know is, I’m hopeful we’ll get more.
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Joshua Ryan
Lead Film & TV Critics Editor
Articles Published :322
Born and raised in Central Florida, Joshua Ryan has harbored a love for cinema since the earliest years of his childhood. Through endless hours of watching Turner Classic Movies, especially the works of Alfred Hitchcock, his passion for film and film criticism grew. As an adult, he channeled that passion into a career as the editor and lead critic of FandomWire’s film and television department.
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