The Last Of Us Fans vs Naughty Dog

Watch never-before-shared insights from my 2020 conversation with The Last Of US director Neil Druckmann about artistic freedom, as I explore the biggest question in modern storytelling: who controls the narrative—creators or fans?

"And we didn't make the traditional sequel, I think, that a lot of people expected. And some people loved that and some people kind of had a hard time with it." - Neil Druckmann, Director, The Last Of Us.

Five years later, The Last of Us Part 2 remains one of gaming’s most explosive debates. Was it a masterpiece? A betrayal? Or something more complicated?  

I spoke to Neil Druckmann back in 2020—amid a global pandemic and right as the fan backlash hit its peak. Another story came from that interview, but there were a lot of things Neil said to me that stuck with me since. And in 2025, with HBO’s The Last of Us Season 2 having just released, I figured it was time to revisit my thoughts on that conversation and the real heart of the conflict:  

Who really owns The Last of Us—the creators, or the fans?

Thanks for clicking on the video. If you like God of War, Red Dead, and Ghost of Tsushima, you might like my thoughts on those or other games as well. This channel lives or dies by your support, so if you’ve enjoyed the video, a like and sub truly helps me out. 

I’d like to share more of my conversation with Neil in this and upcoming videos, so let me know your thoughts and do stay notified. 

When I published this video, I had yet to watch the second season of the show. I’ll probably be giving my thoughts on that in a later video. But here’s your spoiler warning, for the games, and potentially the show. It’s ok to save this video and come back to it when you’re ready. Alright, let’s get into it.

CHAPTER 1: FANS EXPECTATIONS

When the first game was released in 2013, its ending was a Rorschach test: Was Joel a hero? A villain? A desperate father? Players filled in the gaps themselves. 

Like with any good story, the player could project themselves onto the situation, deepening their relationship with the characters.

Fans of The Last of Us didn’t just fall in love with Joel and Ellie—the characters now belonged to them. 

Joel’s decision at the end of The Last of Us Part I to save Ellie by killing the Fireflies—thereby sacrificing a potential cure for humanity—sparked a healthy discussion over whether he acted selfishly out of love or justifiably to protect her life.

That’s why it's a little concerning when Neil Druckmann, the game’s director, in an interview with IGN, offered his personal opinion that he felt Joel’s decision was right. 

"I believe Joel was right. Well, again, just my personal opinion. If I were in Joel's position I hope I would be able to do what he did to save my daughter." 

When a creator defines the "correct" interpretation of their work, it can limit the audience's personal engagement and stifle open discourse by closing off space for individual meaning.

But in Neil’s defence, shouldn’t he as the creator, and now as the showrunner have more of a say than a fan? 

Who really owns The Last of Us—the creators, or the fans?

Before we get ahead of ourselves, let’s take it back to 2020, and the peak of The Last Of Us Part 2’s controversy. Once again, spoilers ahead.

Joel’s brutal death wasn’t just shocking—it felt like a violation. Coming from Part 1, fans expected a redemption arc, a father-daughter road trip, and maybe even a happy ending. Instead, they got a 9 iron to the skull.  

But here’s what’s fascinating: The outrage wasn’t just about Joel’s death. It was about expectations and ownership.  

Fans didn’t just dislike the story—they argued it was wrong. That Naughty Dog had broken some kind of unspoken contract. Fans of Part 1 invested emotionally in its characters and story. The massive success of the first game created a large and loyal fanbase that collectively had specific expectations for the sequel. 

Naturally, this lead to fans feeling a sense of entitlement regarding how their favourite characters should evolve and what themes should be explored. 

"There's an interesting conversation to be had there about what are fans owed versus what freedom should creators have. And because you know, when you make, when we made the first game there are no expectations, with the second game people right or wrong have started to expect certain things from a sequel and we didn't make the traditional sequel I think that a lot of people expected and some people loved that and some people kind of had a hard time with it, for multiple reasons, and it was just how intense that reaction was that was surprising."

That’s the problem with having expectations. By prioritising desired outcomes over the writer’s intended message, rigid fan expectations almost always hinder genuine engagement with the story. 

So who really owns The Last of Us—the creators, or the fans?

CHAPTER 2: CREATORS’ FREEDOMS

While film is generally considered an artistic medium, both it and video games face commercial pressures that may challenge artistic freedom. However, this doesn’t diminish their potential to be art. It’s a discussion that deserves its own video, so check out the channel for my thoughts on that topic. 

But let’s focus on artistic expression, or what freedoms the creators’ have. 

Game developers like Neil Druckmann and Naughty Dog do have the right—and perhaps even the responsibility—to explore complex themes and narratives, using the unique interactive power of games to tell thought-provoking stories.

Challenging fan expectations, though risky, is part of artistic expression. It allows creators to push the medium forward and engage players on a deeper, more meaningful level.

"The thought is never to piss people off or to do fan service. It's really to do our, our question is always like what is a game we would want to play. Like whenever I worked on this game and I took a step back and I'm like oh man like we're playing this game or we're setting up this villain and then I play that villain, I get to see everything through their perspective. Like I thought about this idea for years and now I get to like execute I'm like, I would be over the moon to play this game. That's always a question of like what can we do that we haven't seen that we're excited by, and it might be a new character, it might not be a new character. It might be seeing a character and the path they go on is one that's unexpected, but it's got to be something that's really exciting to us."

Every artistic medium—whether literature, film, painting, or video games—grows and evolves when creators push boundaries. Innovative works challenge the limits of the medium. Video games like The Last of Us Part II have redefined what interactive storytelling can achieve, blending traditional narrative structures with immersive, player-driven experiences. 

So you remember that point on rigid fan expectations? Well, strong fan expectations give writers powerful narrative tension to subvert, making bold choices—like Joel’s death in Part II—more impactful. 

With that said, the HBO adaptation may subvert the expectations of the game’s fans to serve up a different and fresh emotional arc to audiences.

While polarising, the game and the show are likely to be remembered for their bold narrative decisions and the conversations they provoked. I mean, almost half a decade later, and there is much content and debate still being had over the game. 

CHAPTER 3: WHO OWNS THE LAST OF US? 

Who really owns The Last of Us—the creators, or the fans? Sure. Sony Entertainment does. But when I ask who owns The Last Of Us? I’m really asking who controls the franchise?

Fans will say: “We made this franchise successful! Respect our investment!”  

Creators will say: “Art dies when it’s ruled by committee.”  

But here’s the uncomfortable truth: Both sides are right.  

Fans are owed quality. To respect their time and investment with a story that honours what came before.

But creators must have the freedom to surprise them and push the medium forward—even if it divides fans.

"Each game should stand on its own and each game might be the last one in the series because I don't know if we'll ever do it again. The luxury at Naughty Dog where we're not beholden to any franchise. If we were we would just be making Uncharted 8 right now, or maybe Jack and Daxter 12. So we're kind of lucky in that way that we get to kind of dictate our own fate. We could say, do we have an idea that's exciting because again you have to work on this thing for years so it better be an idea that I and the rest of the team can get behind. Otherwise, you're going to get burnt out really fast if you're not really passionate about the thing that you're making."

If Naughty Dog had given fans exactly what they wanted? We’d have gotten yet another post-apocalyptic-dad-simulator. The game may have done commercially well, but the medium would not have progressed.

Instead, we got this. A game that no one could ignore.

So what’s the verdict?  

Ultimately, finding a balance between these perspectives is crucial for the future of storytelling in entertainment. Open dialogue, mutual respect, and a willingness to engage with diverse narratives can pave the way for a more harmonious relationship between creators and fans, where both sides inform and educate the other - a symbiotic relationship that will allow the medium to thrive.

With the release of The Last of Us Season 2, this is how I see it - two paths lie ahead: the story could mirror the game, allowing the cycle of fan anger to play out once more — a haunting echo of the game’s original message — or it could subvert expectations yet again, maybe Joel lives, sprouting a new narrative, sparking fresh debate and reigniting the cultural conversation that surrounded the game’s release.

Either way, it’s gonna be a ride. So stay with the channel, let me know your thoughts on this and let’s talk about it in the comments section.

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