Can “The Last of Us” live up to the promise of the original game?

IN AN ESSAY published in 2010, Roger Ebert delivered a verdict: “Video games can never be art.” The Pulitzer-prizewinning critic argued that games, with their “rules, points, objectives and an outcome”, are designed to be won in a way that novels, films or plays are not. Even an immersive game, which allows the player to roam without levels or challenges, is merely “a representation of a story”, not the thing itself. “No one in or out of the field has ever been able to cite a game worthy of comparison with the great poets, film-makers, novelists,” Ebert asserted.

Hollywood has not been deterred by such criticisms. In recent years, as the industry has sought to ward off risk by capitalising on existing hits, video games have become a useful source of ideas and stories. In 2022 two video-game adaptations, “Sonic the Hedgehog 2” and “Uncharted”, were among the highest-grossing films of the year, beating blockbusters such as DC Comics’s “Black Adam” and Pixar’s “Toy Story” spin-off, “Lightyear”.

Streamers are also trying to leverage the popularity of certain games. Amazon Prime Video has ordered a series based on “Fallout” and “God of War”. Netflix has the rights to “Assassin’s Creed”, “BioShock” and “Cyberpunk 2077”; “Arcane”, its Emmy-winning series drawing on “League of Legends”, is reportedly the most expensive animated show to date. In March Paramount+ announced that “Halo”, a spacefaring epic based on the blockbuster game of the same name, was its biggest debut ever, attracting more viewers than any of its “Star Trek” shows.

Fans care deeply about these endeavours and pay attention to the details. For instance, in 2019 Paramount had to revamp its “Sonic the Hedgehog” film—and push back the release—after people complained online that the titular character did not closely resemble its game counterpart. The expectations for “The Last of Us”, which has its premiere on HBO on January 15th, are particularly high. Critics and players consider it one of video gaming’s greatest creative achievements. Since its release in 2013, “The Last of Us” is estimated to have sold more than 35m copies. A sequel, released in 2020, is thought to have sold more than 10m copies.

The single-player game is set in America in the 2030s, 20 years after cordyceps sinensis infected humans. (The real-world fungus is parasitic, taking over a host insect’s brain and controlling its body before killing it.) Plagued humans are aggressive; those who have survived live in designated quarantine zones. Joel, a middle-aged smuggler whose daughter was killed in the chaos of the outbreak, is tasked with accompanying 14-year-old Ellie across the country. They are accosted on their journey by hostile raiders, anarchists and, of course, the infected.

The game’s narrative may be familiar to anyone with a passing knowledge of post-apocalyptic fiction, yet “The Last of Us” stands out for its haunting tone, gorgeous design and compelling acting. Some of its most enjoyable gameplay involves characters reminiscing and bonding as they wander around an arcade, costume shop or zoo. The score by Gustavo Santaolalla—who won back-to-back Oscars for “Brokeback Mountain” and “Babel”—is brilliantly ominous and atmospheric.

“The Last of Us” stands the best chance of any video-game adaptation of being both a commercial blockbuster and a critical hit. Mr Santaolalla has returned to produce the music for the show; he is joined by other acclaimed writers and performers. Neil Druckmann, who wrote the game, has co-written the adaptation with Craig Mazin, who won two Emmys for “Chernobyl”. Like that programme, “The Last of Us” has been developed by HBO—widely considered the most skilled maker of television—in partnership with Sony Pictures Television and PlayStation Productions. Each episode is reported to have cost between $10m and $15m, making it the most expensive production in Canadian history. (It was largely filmed in Alberta.)

The series follows its source material closely, taking cues not just from its plot and characters, but also its look and pacing. Two stars of “Game of Thrones”, Pedro Pascal (pictured) and Bella Ramsey, play Joel and Ellie; Ms Ramsey, in particular, imbues her character with a potent mix of rage, fear and awe. The show retains a game-like feel, as characters must seek out medicine, work out a way around physical obstacles or stave off baddies.

Viewers need not be familiar with the original story to enjoy “The Last of Us”. Those who are may feel that, for all the skill of the adaptation, there is something lost in the change between formats. Without being able to freely explore the strange new versions of Boston, Wyoming or Salt Lake City, the world of “The Last of Us” seems less wondrous. The scaled-back presence of “clickers” (infected humans who have developed echolocation) makes the show’s threats feel less scary and distinct from other zombie thrillers.

Most importantly, passively watching Joel fight to protect Ellie, or witnessing Ellie embrace violence to ensure her survival, is less fraught than when you’re choosing to act on their behalf. “The Last of Us” is a very good show, but, as a game, it was transcendent. Interaction enriched its art. ■