Bonk4licious said:
I think everyone (especially the episode Facebook commenters, what the hell...) really blew this out of the water. In fact, Yahtzee deliberately says in some of his reviews that he is flat out trying to find the bad parts of the game. It's a pretty old thing, he gripes on it because it's more interesting than him going on fanboy speeches about about great a game that he may have enjoyed is. It's his hook.
On the ending topic, I was pretty disappointed. The ending was lackluster, which I understand was the point, that the characters weren't really heroes or villains, they were set up as survivors from step one which was the recurring theme that transpired across the entirety of the game. It's the only reason they got back up from all the stuff they had to go through. But the ending didn't really have a peak "climax," there was no real final level and the hardest levels in the game ALL came from mid-game zombie levels, which weren't even paralleled in difficulty later on. I don't know why they even gave you any scrap materials in the last couple levels, because it was so easy to sneak by everyone in the end that it didn't matter. I only killed one enemy in the final "base" of operations because the game basically made me. It was a very risky ending that should have at least had a final escape level that could have added difficulty and gotten rid of the rest of your ammo, and added for more character bonding. But instead, I got a very short, scripted ending that capped off the character development. Not to say that it was badly done in context as a story, but as a video game (a AAA Naughty Dog title at that) the ending failed to meet expectations, it felt to me like they suddenly ran out of funding so they just finished it and called it good.
I see both sides, but I think the ending would've been better if they didn't force feed me character development, they should have earned it with a bang in the end and actually given me some gameplay to accompany.
I disagree completely and here's why.
This wasn't the right kind of game for a big boss fight. In fact, final boss fights in very story driven games tend to break immersion by being too transparently gamey. The Last of Us actually does this twice with the mandatory bloater fights, both of which were handled extremely well by video game standards, but were out of place in a game that was more about survival and openness and less about monster closets. A big, climactic, set-piece driven ending or a boss fight would have strained the game's believability.
Meanwhile, the ending we got was kind of perfect. There was no gameplay climax as you point out, but there is a wonderful emotional climax in the way that Joel's escape with Ellie in his arms mirrors his (and our) prior experience with his daughter Sarah. This was a frankly brilliant example of storytelling through gameplay. The kind of thing that only a few games like Bioshock, Journey, Portal, and Dark Souls have really achieved.
And then Jackson was the capper. Naughty Dog used the fact that we naturally identify with the character we're playing against us in this scene. Playing as Ellie helps us identify with her. Her size, her physicality, desires, emotions, etc. Had the game ended with you playing as Joel, it would seem as if you, the player, had some hand in lying to Ellie and that she just accepts it, but by having us play as Ellie, our complete awareness of Joel's lie and betrayal lends a fascinating ambiguity to Ellie's acceptance of Joel's words. What's in your head is in her head to some extent. So even though the end was, quite literally, a walk in the park, it was crucial to making the ending work. Yeah it was anticlimactic, but not all anticlimax is bad. Nearly every season of The Wire ends in anticlimax, but that's the point, it's in service to higher ideas and themes.
In summary, not only is The Last of Us great because it defies Hollywood story telling cliches, it's great for defying video game gameplay cliches as well. Ending as it should on an emotional climax (expressed though gameplay) rather than shoehorning in a decisive final conflict like an out of place boss fight, a battle against an overwhelmingly large force of thugs, or, heaven forbid, a quick-time-event.