
The rest is silence: Grief, Image, and Collective Feeling in Hamnet
14 Sep, 2025
As both game and television, The Last of Us is a masterclass in storytelling. Released in 2013, the first game in the series was a significant tonal shift for Naughty Dog, the developer that had created the Uncharted series. Set in a post-apocalyptic world following a zombie outbreak, The Last of Us created a harrowing narrative of love and loss in a brutal world of violence, trauma, and prejudice. The game is largely focalised through Joel, an experienced smuggler. Joel, having never recovered from the loss of his daughter during the initial outbreak, is tasked with taking a young girl, Ellie, across the Eastern United States to safety. Ellie, having been bitten by a zombie without succumbing to the cordyceps virus, offers the chance of a vaccine. The pair’s relationship is intricate and heartbreaking, whilst the gameplay and story is some of the best ever produced by a videogame.
The same can be said for The Last of Us television series. Neil Druckmann, writer of the games, paired with Craig Mazin to bring the game world to life in HBO’s adaptation. The series recaptures what made the games so great, weaving a masterful plot whilst keeping the relationship between Joel and Ellie (at least in season one) at the forefront of its storytelling. What is so striking about this adaptation though, is its effective ability to stake new ground in the world. The series creates new subplots and backgrounds for supporting characters, especially Bill in season one. Its twenty-four Emmy nominations (with eight wins), are a testament to its universal acclaim, but also its ability to appeal to mainstream audiences beyond those who played the games.
