Ellie and Joel get something resembling a happy ending in the finale, but at what cost?
to explain a common gap in the video-game experience between a game’s narrative elements and its gameplay. To useseries depicts its hero Nathan Drake as a lovable, sensitive rogue in its narrative sequences but requires him to act as a cold-blooded mass murderer in the games’ many fight scenes. Whether ludonarrative dissonance is a problem is open for debate . For some, it’s just a quirky part of gaming. But one thing’s for sure: Film and television have no ludonarrative dissonance.
Hannah expresses two dying wishes to a reluctant Marlene after reminding her they’ve known each other their entire lives: She wants Marlene to take Ellie somewhere safe . Hannah wants Marlene to take her life before she becomes one of the Infected. After fearing she can’t fulfill either wish, Marlene performs both. The sound of the gun blast causes Ellie to cry.
It’s a moment of reflection for Joel and Ellie, and it feels like one for the series, too. The grazing giraffes and the overgrown ruins of the city look less like the aftermath of a disaster than a fresh start. Nature has reclaimed the space, and it doesn’t look like a wasteland anymore. It looks like what comesa wasteland. Joel takes the opportunity to caution Ellie, but she’s not having it.
But it’s not the end of the episode, and what follows throws into question what kind of story we’ve been watching all season, which now seems bigger than a tale of two hurt people forming a surrogate family. As Joel rates the puns, they’re ambushed by an armored patrol and knocked out by a stun grenade. After a fade to white Joel wakes up to a familiar emblem and Marlene saying, “Welcome to the Fireflies.” They’ve reached their destination.
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