When it comes to video game stories, endings can make or break their overall impact. I’ve judged multiple games based on how their credits rolled, and while I still believe the journey matters more, a good ending can leave a lasting impression on me.
Note that there are ending spoilers for Dispatch, Silent Hill f, and Clair Obscur: Expedition 33 below.
Dispatch’s overall positivity is the main reason why I adored the game so much. Despite all the cussing, drugs, and R-rated themes, Dispatch has a heart that feels genuinely wholesome compared to most video games this year. And its ending gave me the exact feeling I didn’t realize I needed: joy.
The world is harsh, that’s for sure. Gaming has become a source of escapism for many, and more often than not, these stories end on a bittersweet note. Red Dead Redemption’s heartbreaking endings for both protagonists aren’t something you revisit when you want to feel good. Even worse, The Last of Us and Spec Ops: The Line, two great games, dive deep into the messy morality of humanity, and that’s not something people crave all the time.
Dispatch’s positive ending arrived at a moment when most video game finales refused to leave players with a smile on their face. Look at Clair Obscur: Expedition 33. Its ending, while heavy with themes and moral weight, isn’t what you’d call “happy.” There are loose ends in its overarching narrative, but we’ve already made our choices between Verso and Maelle, and whatever ending you chose, it still stings.
Hades II dragged us through a war of attrition with Chronos, and even after his defeat, so many issues remain unresolved. It was an underwhelming conclusion to an otherwise incredible game. Thankfully, Supergiant remedied that with a surprise post-launch update.
Death Stranding 2: On the Beach and Split Fiction are two games built on hope. Despite Death Stranding’s bleak post-apocalyptic world full of aliens and Lovecraftian horrors, humanity endures. Split Fiction’s themes of vulnerability and connection have a genuinely positive impact on players. These two games stand out as rare examples of titles that leave us smiling, especially in a year filled with endings that made us question our sanity.
Silent Hill f, despite reviving the survival horror formula, offers multiple endings steeped in Hinako’s guilt, fear, and trauma. Even its supposed “Good Ending” is up for debate, and the community is still parsing its dense commentary on identity and femininity.
But I’ve digressed long enough. Dispatch’s ending had me grinning from ear to ear. I half-expected something bittersweet or a major character death, but no. None of that happens. Everyone is fine, and the big bad villain gets exactly what he deserves.
Call it cheesy, but Dispatch proved we could use more games with a straightforward, unapologetic happy ending. There doesn’t need to be added nuance or hidden subtext that we somehow missed in our 9 to 10 hours of playtime. It just needs to make us smile. It needs to make us feel good about the choices we made and leave us excited for whatever comes next.
Happy endings aren’t always necessary. Video games are an art form, after all. But every once in a while, we need that feeling. And that’s why Dispatch shines.
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