I got we weren’t supposed to be entirely on Ellie’s side around the Doctor Sniffybum incident. But the message is muddled by everyone in Ellie’s conventionally attractive mumblecore support group assuring her that revenge is the tops and totally justified. And the villains' equivalent act of revenge against Joel for doing something a lot worse was totally not justified because they hadn't had nearly enough screen time. Which is presumably why, just as the plot is starting to look like it's wrapping up, the game suddenly flashes back and makes us play as the main villain for way, way too fucking long, to show that — ooooh! — they have redemptive qualities as well and from their perspective Ellie is basically a less eloquent Jason Voorhees.
One common device is to have an empathetic white character take up a semi-Indian style of life, by marrying into a tribe, for example — Broken Arrow (1950), Run of the Arrow (1957), Dances with Wolves (1990), Little Big Man (1970). But such films do not tell an Indian story; quite the contrary, they specifically look at Indians from the white characters’ point of view and interpret Indian life in terms of European concepts. In such films, the Indian characters are foils for a white drama and do not themselves emerge from stereotypes as rounded human beings; the roles played by Chief Dan George in Little Big Man and The Outlaw Josey Wales (1976) are excellent examples — all the more so as George’s role is probably the richest part any actual Indian has played in a white film, and yet is nonetheless purely iconic. Indian roles are more usually played by Caucasians or Orientals, particularly if the parts are substantial: for example, Apache (Burt Lancaster, 1954), Taza, Son of Cochise (Rock Hudson, 1954), The Savage Innocents (Anthony Quinn, 1959). I would argue that here again it is a white point of view that is being presented. The Savage Innocents possibly comes closest to a non-white point of view of any film by an important [white] filmmaker (Nicholas Ray); it goes out of its way to render the strange and bizarre as normal, and succeeds so well in inducting us into the alien sensibilities of its Eskimos that, by the time a white man shows up, we feel him as the abnormal one.
— Tag Gallagher, John Ford: The Man and His Films, Footnote 484, Page 286 Ebook Edition
