The Last of Us and Zionism

[Plot spoilers]

The Last of Us Part II is a profound exploration of trauma, the cyclical nature of violence, and the struggle for redemption. While its universality and emotional resonance have led to its widespread acclaim, the game is also deeply rooted in Druckmann’s Jewish identity and the complex realities of Zionism. Through these lenses, he takes the audience through a narrative that tackles morality, survival, and the human capacity for change.

Druckmann’s formative years in the small West Bank settlement Beit Ayreh significantly shape the game’s central motifs. At an early age, he witnessed the gruesome lynching of two Israeli soldiers by a Palestinian mob. "In my mind, I was like, I would want to kill all these people," Druckmann recalls. "If I could just push a button, I would do it." This visceral reaction to violence and the innate desire for vengeance is mirrored in the brutal execution of Joel, the protagonist from the first game, by Abby - an antagonist fueled by her grief and trauma. This moment catalyses the game’s examination of the nature of violence and how trauma begets trauma in a self-perpetuating cycle.

The warring factions in the game’s post-apocalyptic Seattle - the Washington Liberation Front (Wolves) and the Seraphites (Scars) - serve as an allegory for the Israeli-Palestinian conflict, locked in an endless struggle for dominance and survival. The Wolves seized control of the city from the FEDRA regime through guerrilla tactics in a manner reminiscent of early Zionist paramilitary groups that fought the British. Once in power, the Wolves impose harsh restrictions on the Seraphites, a religious cult uncomfortably reflecting Israeli stereotypes of Palestinians as religious fanatics.

The visual parallels between the game’s post-apocalyptic Seattle, with its checkpoints, security walls, and barriers, and the real-world landscapes of the West Bank are striking. In response, the Seraphites resort to asymmetric warfare. Druckmann himself explains that The Last of Us depicts a world that “normalises death and violence.” The game represents a grim world where the security apparatus is the physical manifestation of a pragmatic worldview that understands violence as an inevitable part of the human condition.

Throughout The Last of Us, the spectre of genocide looms over in a universalised form as the characters struggle to survive in a world ravaged by a global pandemic. In a poignant scene set within an abandoned synagogue, Dina shares her Jewish heritage and the importance of faith in the face of unimaginable hardship. It serves as a powerful reminder of the Jewish people’s resilience in the face of persecution and tragedy. The Last of Us echoes Jewish history and the struggle for survival whilst rooting us in what makes us human.

Theodor Herzl writes in the context of late 19th-century Europe but still grapples with many of the same political questions of determination and survival faced in The Last of Us. In Der Judenstaat (The Jewish State), Herzl writes, "The Jews who wish for a State will have it. We shall live at last as free men on our own soil, and die peacefully in our own homes." He envisioned a homeland as a refuge from Jewish persecution. Similarly, insular communities such as the Jackson Commune emerge after societal collapse in The Last of Us. Herzl proclaims, "We shall therefore prevent the settlement in our State of huge groups, of whatever nationality, such as could imperil our sovereignty." Likewise, Jackson is wary of all that lurks beyond the walls, vetting newcomers to preserve cohesion. Amidst the despair of the post-apocalyptic world, Jackson provides its residents with safety, purpose, and a sense of belonging amidst despair - all instrumental aspects of nationalism.

At its core, Ellie's journey in The Last of Us is a powerful embodiment of the challenges and sacrifices inherent in breaking free of the cycle of violence. Consumed by grief over Joel's death and plagued by a sense of guilt and loss of purpose, Ellie's quest for vengeance threatens to erode her humanity entirely. Yet, the human soul has an innate capacity for resilience, and even when faced with overwhelming darkness, there is always a path to returning to the path of righteousness. Druckmann shines a guiding light on our shared humanity and ability to persevere against all odds in a world torn by chaos and violence.

This idea transcends ideology, instead reflecting a fundamental struggle with the divine, grappling with the very essence of what it means to be human. Druckmann offers a profound message about the transformative power of empathy in a world consumed by hatred: "Here are a bunch of flawed characters that make flawed choices and have to deal with those choices, and say, can you come back from that?" This question strikes at the core of Jewish tradition, emphasising the concept of teshuvah, or repentance. Through Ellie’s and Abby’s profound moral reckoning and courage to choose a different path to "dispel the darkness", there is always an opportunity for return and redemption.

In this way, The Last of Us uses a complex revenge narrative to explore natural virtues - the universal human struggle with trauma, tribalism and the divine. Drawing upon the rich tapestry of Jewish history and the complex realities of the Israeli-Palestinian conflict, its story dares to imagine a different path that affirms the human spirit. With radical empathy, The Last of Us Part II argues we can still yet find the strength to grapple with our morality and challenge the forces shaping our world and its place.