1 00:00:00,280 --> 00:00:02,840 Speaker 1: In times of conflict. It's the people who choose to 2 00:00:02,920 --> 00:00:05,800 Speaker 1: act instead of hide and fight for what's right. It's 3 00:00:05,840 --> 00:00:08,760 Speaker 1: the people who provide us with the greatest stories. So 4 00:00:08,800 --> 00:00:12,160 Speaker 1: if you're looking for stories about bravery, resilience and action, 5 00:00:12,320 --> 00:00:15,480 Speaker 1: I'd like to introduce you to Epic, a fiction podcast 6 00:00:15,480 --> 00:00:18,520 Speaker 1: from Realm. Let Epic be your new HQ for all 7 00:00:18,600 --> 00:00:21,680 Speaker 1: things action and adventure. Each new season tells a different 8 00:00:21,760 --> 00:00:25,599 Speaker 1: story of high stakes and near missics. Epic's newest season, 9 00:00:25,880 --> 00:00:30,280 Speaker 1: Control Alt Destroy Stars fireflyes Summer Glau as a video 10 00:00:30,280 --> 00:00:33,239 Speaker 1: game designer. She discovers that the game she created has 11 00:00:33,280 --> 00:00:35,760 Speaker 1: been stolen as part of a top secret project and 12 00:00:35,800 --> 00:00:38,560 Speaker 1: maybe the only thing keeping the world from plunging into wall. 13 00:00:40,040 --> 00:00:43,680 Speaker 1: Nations are competing for real world resources within her video game, 14 00:00:43,720 --> 00:00:46,920 Speaker 1: and Team USA hopes that bringing in the designer in 15 00:00:46,960 --> 00:00:49,320 Speaker 1: secret will give them the upper hand they need. This 16 00:00:49,440 --> 00:00:52,080 Speaker 1: story is perfect for fans of wargames and Ready Player 17 00:00:52,120 --> 00:00:54,760 Speaker 1: one and will draw you in even if you've never 18 00:00:54,880 --> 00:00:59,680 Speaker 1: played RPGs. You can listen to Control Alt Destroy and 19 00:00:59,760 --> 00:01:02,400 Speaker 1: all all the other stories of action adventure on Epic, 20 00:01:02,640 --> 00:01:07,640 Speaker 1: available wherever you get your podcasts, or at Realm dot FM. 21 00:01:07,760 --> 00:01:10,480 Speaker 1: Warning this podcast could take spoilers for the video game 22 00:01:10,560 --> 00:01:14,280 Speaker 1: The Last of Us parts one and two, but mostly one, 23 00:01:14,560 --> 00:01:17,560 Speaker 1: a minor spoiler for The Food by Cormack McCarthy, which 24 00:01:17,600 --> 00:01:19,560 Speaker 1: came out in two thousand and six. Get your get 25 00:01:19,600 --> 00:01:22,480 Speaker 1: to your local library and read that, plus a potential 26 00:01:22,920 --> 00:01:25,840 Speaker 1: spoiler for Ant Man and the Wasp Quantumnia that was 27 00:01:25,840 --> 00:01:45,440 Speaker 1: revealed in the latest trailer Be careful. Hello, my name 28 00:01:45,480 --> 00:01:48,200 Speaker 1: is Jason Concepcion and I'm Rosy Night, and welcome to 29 00:01:48,360 --> 00:01:50,680 Speaker 1: x ray Vision, the Crooked media podcast where we dive 30 00:01:50,800 --> 00:01:54,560 Speaker 1: deep into your favorite shows, movies, comics, and pop culture. 31 00:01:54,920 --> 00:01:57,240 Speaker 2: In this episode we got previously on The Ant Man 32 00:01:57,240 --> 00:01:58,760 Speaker 2: in the Wasp, Pontomania, Tree. 33 00:01:58,600 --> 00:02:00,520 Speaker 1: Law, and in the Airlock We're gonna be. We're visiting 34 00:02:00,560 --> 00:02:04,120 Speaker 1: the Last of Us video game, the masterpiece video game 35 00:02:04,160 --> 00:02:10,560 Speaker 1: from Naughty Dog, recently remastered on the Sony PlayStation platform, 36 00:02:10,639 --> 00:02:13,640 Speaker 1: So get that if you're interested in getting involved in 37 00:02:13,720 --> 00:02:15,320 Speaker 1: the Last of Us stuff. 38 00:02:15,520 --> 00:02:17,720 Speaker 2: And as always, if you want to jump around, check 39 00:02:17,760 --> 00:02:20,160 Speaker 2: the show notes for timestamp so you don't get spoiled. 40 00:02:20,280 --> 00:02:22,400 Speaker 2: Or you want to hair off theories again and again, 41 00:02:22,520 --> 00:02:23,359 Speaker 2: you can just jump back. 42 00:02:25,680 --> 00:02:30,640 Speaker 1: All right, let's get into it. First up, a little 43 00:02:30,639 --> 00:02:34,000 Speaker 1: bit of news. This trailer dropped Monday evening after we 44 00:02:34,040 --> 00:02:36,760 Speaker 1: had recorded our first episode of the week. It is 45 00:02:36,800 --> 00:02:41,560 Speaker 1: the ant Man Quantumedia trailer. The movie comes out February seventeenth, 46 00:02:41,600 --> 00:02:45,679 Speaker 1: directed by Peyton Reed, written by Jeff Loveness, Paul Rudd Is, 47 00:02:45,720 --> 00:02:49,360 Speaker 1: Scott Lang, Evangeline Lily is the Wasp, Jonathan Majors, of 48 00:02:49,400 --> 00:02:55,120 Speaker 1: course spotlighted as King the Conqueror New Edition, Catherine Newton 49 00:02:55,240 --> 00:03:01,840 Speaker 1: as the new Cassie Lang, and William Jackson Harper potentially Quasar. 50 00:03:01,919 --> 00:03:07,480 Speaker 1: We're getting this from imdby Listen, here's I'm a mark. 51 00:03:07,720 --> 00:03:09,240 Speaker 1: I don't know what to tell you. I thought this 52 00:03:09,320 --> 00:03:11,280 Speaker 1: trailer looked great, and I'm very excited. 53 00:03:11,440 --> 00:03:14,639 Speaker 2: It looks so good. I mean, look, one, you got 54 00:03:14,720 --> 00:03:17,280 Speaker 2: Kang and they fully committed. They didn't give him some 55 00:03:17,320 --> 00:03:20,639 Speaker 2: weird military backstory. We didn't have to see something strange. 56 00:03:21,320 --> 00:03:24,280 Speaker 2: He's wearing purple, he's wearing green, he's wearing boots, he's 57 00:03:24,280 --> 00:03:26,240 Speaker 2: wearing a cape. Is he wearing a mini skirt? I 58 00:03:26,280 --> 00:03:28,840 Speaker 2: hope to see it. So currently he's in shadow, but 59 00:03:28,960 --> 00:03:32,520 Speaker 2: it looks like a classic costume. And then not only that, 60 00:03:32,760 --> 00:03:37,160 Speaker 2: but it's this super weird Cosmic Tale and yeah, that 61 00:03:37,320 --> 00:03:40,520 Speaker 2: pr The email they sent out was really interesting because 62 00:03:40,640 --> 00:03:42,960 Speaker 2: it confirmed that William Jackson Harp is playing this character 63 00:03:43,000 --> 00:03:46,440 Speaker 2: called Quas, which a lot of people are saying it's Quasar. Also, 64 00:03:46,720 --> 00:03:51,760 Speaker 2: we got David Dashmalion who is gonna come back, but 65 00:03:51,960 --> 00:03:55,040 Speaker 2: not as Kurt. He's playing character called Verb. I think 66 00:03:55,080 --> 00:03:59,680 Speaker 2: we see Verb and Quas. And then this other character 67 00:03:59,680 --> 00:04:02,760 Speaker 2: that they announced called Gentra. I think we see them 68 00:04:02,760 --> 00:04:05,040 Speaker 2: in the first trailer. They're three people that kind of 69 00:04:05,080 --> 00:04:07,760 Speaker 2: stand there. Veb I think has this glowing head that's 70 00:04:07,800 --> 00:04:10,240 Speaker 2: my guest. So you're getting really weird stuff. You're getting 71 00:04:10,280 --> 00:04:12,760 Speaker 2: great returning cast members. And that's before we even get 72 00:04:13,040 --> 00:04:21,039 Speaker 2: to Modoc, who you know, the mental organism designed only 73 00:04:21,080 --> 00:04:24,080 Speaker 2: for killing. He's here and it looked like I thought 74 00:04:24,120 --> 00:04:25,680 Speaker 2: for a minute, I was like, is that Paul shit, 75 00:04:25,760 --> 00:04:27,880 Speaker 2: But it wasn't. It was Corey Stall. It was Corey 76 00:04:27,960 --> 00:04:29,239 Speaker 2: Stall's giant head. 77 00:04:30,440 --> 00:04:34,400 Speaker 1: I love that wrinkle. Little surprised they left the maskless 78 00:04:34,440 --> 00:04:37,359 Speaker 1: frame in the Yeah, trailer is a reveal, but I 79 00:04:37,400 --> 00:04:40,920 Speaker 1: love the fact that Corey Stall, sucked into the quantum 80 00:04:40,960 --> 00:04:46,920 Speaker 1: realm is still there, still around, still doing evil story 81 00:04:47,040 --> 00:04:47,520 Speaker 1: station shit. 82 00:04:47,800 --> 00:04:50,039 Speaker 2: That's definitely what it is. I think a lot of 83 00:04:50,040 --> 00:04:52,520 Speaker 2: people were wondering when the rumor started going, Oh, it's 84 00:04:52,600 --> 00:04:54,520 Speaker 2: Corey Stahl. He's going to be playing Modoc. You know, 85 00:04:55,560 --> 00:04:58,479 Speaker 2: his alter ego in the comics is George Tarlton. People 86 00:04:58,480 --> 00:05:00,680 Speaker 2: were like, oh, they must be recasting him. He's a 87 00:05:00,680 --> 00:05:03,080 Speaker 2: great actor. It's kind of like Jemma Chan going from 88 00:05:03,160 --> 00:05:06,280 Speaker 2: Captain Marvel to Eternals and being a new character. But no, 89 00:05:06,880 --> 00:05:08,880 Speaker 2: I think you are correct. I wrote a piece of 90 00:05:08,880 --> 00:05:13,240 Speaker 2: IGN yesterday about it. I think that yellowjacket, as we 91 00:05:13,279 --> 00:05:15,280 Speaker 2: saw at the end of ant Man, get sucked in 92 00:05:15,360 --> 00:05:19,240 Speaker 2: and kind of mangled to this subatomic size, and I 93 00:05:19,240 --> 00:05:22,000 Speaker 2: think that's likely why his head is this giant size. 94 00:05:22,000 --> 00:05:23,839 Speaker 2: I think it might be part of one of the 95 00:05:23,839 --> 00:05:26,000 Speaker 2: only parts of his body that's left. And we see 96 00:05:26,080 --> 00:05:28,480 Speaker 2: him sitting in the famous Modoc chair, and then they 97 00:05:28,560 --> 00:05:32,000 Speaker 2: get that shot that we'd kind of had teased from 98 00:05:32,040 --> 00:05:35,719 Speaker 2: some toy leaks. Of course, the ultimate score location of 99 00:05:35,839 --> 00:05:38,120 Speaker 2: Modoc in some kind of battle armor, which is very 100 00:05:38,120 --> 00:05:41,039 Speaker 2: interesting because that doesn't really exist in the comics. But yeah, 101 00:05:41,080 --> 00:05:44,239 Speaker 2: this is this movie is going to be absolutely wild. 102 00:05:45,160 --> 00:05:46,640 Speaker 2: It's going to be absolutely wild. 103 00:05:46,920 --> 00:05:51,479 Speaker 1: Here is what I think is pretty easily gleaned from 104 00:05:51,480 --> 00:05:56,360 Speaker 1: the trailer, seems like. So Scott obviously disappeared in the Snap, 105 00:05:56,400 --> 00:05:59,240 Speaker 1: returned in the Blip five years later, save the world 106 00:05:59,279 --> 00:06:04,200 Speaker 1: as a part of the battle against Thanas, but lost 107 00:06:04,240 --> 00:06:07,360 Speaker 1: five years raising Cassie, who we see being released from 108 00:06:07,400 --> 00:06:09,320 Speaker 1: prison and is gone maybe on a on a kind 109 00:06:09,320 --> 00:06:12,440 Speaker 1: of darker, more criminal minded path. I wonder where she 110 00:06:12,480 --> 00:06:19,520 Speaker 1: gets that from Scott. Okay, and so Scott probably thinking, God, 111 00:06:19,560 --> 00:06:21,279 Speaker 1: I need I wish I had that time back. I 112 00:06:21,320 --> 00:06:24,000 Speaker 1: could have raised Cassie right, I could have done a 113 00:06:24,000 --> 00:06:27,400 Speaker 1: better job by her. Then comes this message from the 114 00:06:27,480 --> 00:06:31,240 Speaker 1: Quantum Realm. They get sucked in there, and my guess 115 00:06:31,320 --> 00:06:35,760 Speaker 1: is Kang Kan just wants out. Kang has been trapped 116 00:06:35,760 --> 00:06:38,839 Speaker 1: in there for this version of Kang, you know, the 117 00:06:38,920 --> 00:06:42,080 Speaker 1: conqueror has been trapped in the Quantum Realm and can't 118 00:06:42,080 --> 00:06:45,640 Speaker 1: get out and needs Scott's help getting out, and in 119 00:06:45,680 --> 00:06:49,480 Speaker 1: return for him getting out, he will, I guess, returns 120 00:06:49,520 --> 00:06:53,599 Speaker 1: Scott to a to a timeline happen. 121 00:06:54,000 --> 00:06:58,839 Speaker 2: Yeah, it's unclear. What is very clear is that, uh, 122 00:06:59,080 --> 00:07:01,760 Speaker 2: you know, Janet van Dey, played by the icon Michelle Pfeiffer, 123 00:07:02,520 --> 00:07:05,520 Speaker 2: has a She has a history with Kang. I like 124 00:07:05,600 --> 00:07:09,039 Speaker 2: to imagine that they had a romantic and quantum entanglement 125 00:07:09,080 --> 00:07:11,680 Speaker 2: while she was there. But we see her, you know, 126 00:07:11,760 --> 00:07:14,160 Speaker 2: she's talking about as she kept the secret, and we 127 00:07:14,240 --> 00:07:18,480 Speaker 2: see her hiding something that looks a lot like the 128 00:07:18,600 --> 00:07:22,040 Speaker 2: rings that we saw Fastos making in Eternals and the 129 00:07:22,120 --> 00:07:25,160 Speaker 2: ten Rings from Shangchi. So it's gonna be some kind 130 00:07:25,200 --> 00:07:27,480 Speaker 2: of artifact. It could be connected to the Ten Rings, 131 00:07:27,480 --> 00:07:29,840 Speaker 2: it could be a different version of them that it 132 00:07:30,000 --> 00:07:33,760 Speaker 2: seems like Janet hid in the quantum realm while she 133 00:07:33,920 --> 00:07:36,840 Speaker 2: was there. And we're going to see that classic ant 134 00:07:36,840 --> 00:07:39,520 Speaker 2: man heist story coming in again, which is always the 135 00:07:39,560 --> 00:07:42,000 Speaker 2: way every anamo you're going to do a heist, and 136 00:07:42,240 --> 00:07:46,720 Speaker 2: I think it's very fun to imagine where that would go. 137 00:07:47,280 --> 00:07:50,920 Speaker 2: I I'm interested to see how they sell the emotional 138 00:07:51,000 --> 00:07:54,160 Speaker 2: journey of Scott being willing to do something terrible to 139 00:07:54,200 --> 00:07:56,000 Speaker 2: get this time back, because I don't know if it 140 00:07:56,040 --> 00:07:59,440 Speaker 2: aligns with how I see him. But maybe that darker 141 00:07:59,520 --> 00:08:02,120 Speaker 2: road that Cassi went down, maybe that's the thing that 142 00:08:02,160 --> 00:08:05,320 Speaker 2: he wants to change, and that would be a believable arc. 143 00:08:05,400 --> 00:08:07,000 Speaker 2: But yeah, I mean, this thing looks bonn because and 144 00:08:07,040 --> 00:08:09,640 Speaker 2: one of the weirdest things about it is they're pulling 145 00:08:09,640 --> 00:08:15,080 Speaker 2: all these characters Jenra, Kryla, that Krayla had like one appearance, 146 00:08:15,160 --> 00:08:19,080 Speaker 2: and they're pulling these characters from really weird, Incredible Hulk storylines. 147 00:08:19,200 --> 00:08:22,880 Speaker 2: So I'm very interested to see if that's something that's 148 00:08:22,920 --> 00:08:23,640 Speaker 2: gonna come up. 149 00:08:24,360 --> 00:08:27,800 Speaker 1: That's what I was gonna say. This really is the 150 00:08:27,880 --> 00:08:32,400 Speaker 1: Incredible Hulk enters the Microverse exactly. Basically, it's the Hulk 151 00:08:32,440 --> 00:08:35,559 Speaker 1: gets sucked into the micro Verse where he falls deeply 152 00:08:35,600 --> 00:08:38,719 Speaker 1: in love as always as all as he always does 153 00:08:38,760 --> 00:08:41,320 Speaker 1: when he goes to another relm and gets you know, 154 00:08:41,520 --> 00:08:45,000 Speaker 1: ensnared in this microverse war that he then has to 155 00:08:45,040 --> 00:08:48,199 Speaker 1: fight in YadA, YadA, YadA. But it feels like that's. 156 00:08:48,120 --> 00:08:50,560 Speaker 2: Yeah, well, I mean they're doing here. There's a direct 157 00:08:50,559 --> 00:08:54,880 Speaker 2: connection to that because Kryla his first appearance was during 158 00:08:55,800 --> 00:08:59,640 Speaker 2: that Microverse event in a Hulk one hundred and fifty six. 159 00:09:00,200 --> 00:09:03,600 Speaker 2: And Gentra, who we know is going to be played 160 00:09:03,600 --> 00:09:05,880 Speaker 2: by Katie O'Brien thanks to the pr blast that came 161 00:09:05,920 --> 00:09:10,880 Speaker 2: with this trailer. That's that's Jorella's niece. Jorella is the 162 00:09:10,880 --> 00:09:13,360 Speaker 2: person the Hulk fell in love with. So it's very 163 00:09:13,400 --> 00:09:17,199 Speaker 2: interesting to see them Yeah, Like, it's very interesting to 164 00:09:17,240 --> 00:09:19,720 Speaker 2: see them pulling from this Microverse stuff, which is also 165 00:09:19,840 --> 00:09:22,880 Speaker 2: like this very interesting controversial stuff because later on the 166 00:09:22,880 --> 00:09:26,400 Speaker 2: Microverse would be connected to the Micronats, which Marvel no 167 00:09:26,480 --> 00:09:29,320 Speaker 2: longer has the rights to, so it becomes this very 168 00:09:29,880 --> 00:09:34,040 Speaker 2: kind of fun, weird, deep cut history moment. But I'm 169 00:09:34,080 --> 00:09:37,559 Speaker 2: interested to see. There is actually an issue during that 170 00:09:37,600 --> 00:09:41,360 Speaker 2: Microverse arc in Hulk one hundred and fifty four where 171 00:09:41,520 --> 00:09:44,400 Speaker 2: Hulk is Microverse size and he crosses over with ant 172 00:09:44,440 --> 00:09:46,560 Speaker 2: Man and it has like a really cool cover where 173 00:09:46,600 --> 00:09:49,480 Speaker 2: like he's like fighting a rat and Man's like flying 174 00:09:49,559 --> 00:09:53,000 Speaker 2: over the top of him. So I do I look, Hulk, 175 00:09:53,480 --> 00:09:56,800 Speaker 2: we saw you know, Mark Ruffalo loves this character. That's 176 00:09:56,800 --> 00:09:58,480 Speaker 2: so many cool things they could do with it. I 177 00:09:58,480 --> 00:10:00,640 Speaker 2: don't necessarily know if we're going to get our Ulk cameo, 178 00:10:00,840 --> 00:10:03,200 Speaker 2: but I do feel like he's one of the characters 179 00:10:03,200 --> 00:10:06,520 Speaker 2: that they're really interested in placing into these stories, like 180 00:10:06,559 --> 00:10:08,560 Speaker 2: they did with She Hulk, you know, like his role 181 00:10:08,600 --> 00:10:13,640 Speaker 2: in Infinity War especially, So yeah, I'll be intrigued to see. 182 00:10:13,679 --> 00:10:17,840 Speaker 2: But I love that they're taking from these weird kind 183 00:10:17,840 --> 00:10:21,360 Speaker 2: of eras. I wonder if that's Peyton read and Jeff 184 00:10:21,400 --> 00:10:24,440 Speaker 2: Loveness too, because they're around our age, and I feel 185 00:10:24,480 --> 00:10:26,440 Speaker 2: like the Microverse stuff, if you're just a little bit 186 00:10:26,480 --> 00:10:28,200 Speaker 2: older than us or you're around our age and you 187 00:10:28,240 --> 00:10:31,240 Speaker 2: were digging in the back issues, that is probably something 188 00:10:31,280 --> 00:10:33,679 Speaker 2: that's like close to your heart. That's like a weird arc. 189 00:10:33,800 --> 00:10:35,600 Speaker 2: So I'd be really interested to know if this was 190 00:10:35,640 --> 00:10:38,240 Speaker 2: more of like a personal look back, kind of like 191 00:10:38,240 --> 00:10:40,240 Speaker 2: how Jessica Gow was bringing a lot of the stuff 192 00:10:40,280 --> 00:10:43,640 Speaker 2: she loved from She Hulk to that story. Yeah, looks 193 00:10:43,720 --> 00:10:45,080 Speaker 2: absolutely bonkers. 194 00:10:45,520 --> 00:10:50,760 Speaker 1: Yeah, if anybody has a Marvel Unlimited plan or access 195 00:10:50,920 --> 00:10:55,120 Speaker 1: to old comics, check out that Hulk in the Microverse run. 196 00:10:55,559 --> 00:10:59,040 Speaker 1: First of all, that is, you know, it was a 197 00:10:59,120 --> 00:11:02,560 Speaker 1: very influential story line. That romance is very influential. Hulk 198 00:11:02,600 --> 00:11:05,520 Speaker 1: fans still talk about it, and you'll see also the 199 00:11:05,640 --> 00:11:12,960 Speaker 1: kind of template that uh, you know was later followed 200 00:11:13,160 --> 00:11:16,800 Speaker 1: in some of the great you know, Hulk crossovers like 201 00:11:16,840 --> 00:11:19,560 Speaker 1: Planet Hulk. I think Planet Hulk is like, yeah, is 202 00:11:19,840 --> 00:11:22,960 Speaker 1: built on the bones of the Hulk in the micro version. 203 00:11:23,000 --> 00:11:25,120 Speaker 2: Yeah, the Hulk as a as a fish out of water, 204 00:11:25,400 --> 00:11:28,840 Speaker 2: not being able to be that huge, looming, kind of 205 00:11:28,920 --> 00:11:31,679 Speaker 2: singular beast that he's always been that's been able to help, 206 00:11:31,720 --> 00:11:35,120 Speaker 2: and that definitely very much travels through those other Hulk events. 207 00:11:35,120 --> 00:11:38,520 Speaker 2: So yeah, it's really fun. It starts in Avengers e. 208 00:11:38,640 --> 00:11:40,640 Speaker 2: E eight. I've just been rereading it all today after 209 00:11:40,679 --> 00:11:42,920 Speaker 2: getting the after watching the trailer, So it begins in 210 00:11:43,000 --> 00:11:46,320 Speaker 2: AE eight and then it's basically like random issues from 211 00:11:46,559 --> 00:11:48,880 Speaker 2: Hulk one forty to Hulk two o three. So great 212 00:11:48,960 --> 00:11:50,960 Speaker 2: thing to check out, Like Jason said, if you have 213 00:11:51,000 --> 00:11:54,000 Speaker 2: an unlimited account, or if you're just going through and 214 00:11:54,080 --> 00:11:56,120 Speaker 2: doing some back issue digging, because trust me, those are 215 00:11:56,120 --> 00:11:58,080 Speaker 2: some weird issues. I'm sure you can just still find 216 00:11:58,080 --> 00:11:59,160 Speaker 2: them around and about. 217 00:12:01,200 --> 00:12:05,800 Speaker 1: Next up, let's talk about the Last of Us. 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This is there kind of like they had 285 00:15:57,640 --> 00:16:00,720 Speaker 1: already made a name for themselves in the kind of 286 00:16:00,760 --> 00:16:04,520 Speaker 1: like cinematic third person action space with the Uncharted series. 287 00:16:05,280 --> 00:16:10,080 Speaker 1: Absolutely wonderful story about in Indiana Jones knockoff who kills 288 00:16:10,200 --> 00:16:13,600 Speaker 1: eight hundred guys in order to heist you know, various 289 00:16:13,680 --> 00:16:17,640 Speaker 1: like gold objects from around the world, and then they 290 00:16:17,840 --> 00:16:21,240 Speaker 1: come with the Last of Us, which just seemed to 291 00:16:21,360 --> 00:16:25,760 Speaker 1: knit together, you know, a bunch of strands of things 292 00:16:25,760 --> 00:16:28,040 Speaker 1: that were kind of like in the air at the time. 293 00:16:28,120 --> 00:16:33,200 Speaker 1: This is like post the banking collapse, still like you know, 294 00:16:33,280 --> 00:16:36,720 Speaker 1: post nine to eleven era, this kind of post the Road, 295 00:16:37,280 --> 00:16:42,280 Speaker 1: This kind of dystopian story about the middle aged guy 296 00:16:42,800 --> 00:16:46,400 Speaker 1: and a teenage girl who he has to escort across 297 00:16:46,480 --> 00:16:50,640 Speaker 1: the post apocalyptic wasteland and the kind of the troubles 298 00:16:50,680 --> 00:16:55,040 Speaker 1: they get in and the relationship they have. It was 299 00:16:55,480 --> 00:16:59,040 Speaker 1: written by and developed by Neil Truckman, who kind of 300 00:16:59,080 --> 00:17:01,800 Speaker 1: led the development of game, that directed it and then 301 00:17:02,200 --> 00:17:08,520 Speaker 1: kind of designed the writing direction. And I remember this 302 00:17:08,720 --> 00:17:11,760 Speaker 1: was one of I was an Xbox person and so 303 00:17:13,560 --> 00:17:18,280 Speaker 1: this game was one of the reasons that I saved 304 00:17:18,359 --> 00:17:23,439 Speaker 1: up money in order to get a PlayStation because I 305 00:17:23,520 --> 00:17:26,359 Speaker 1: was watching you know, gameplay of it, and particularly the 306 00:17:26,440 --> 00:17:29,640 Speaker 1: multiplayer gameplay, which I was very into at the time. 307 00:17:29,680 --> 00:17:31,720 Speaker 1: I was like a big Call of Duty Black Ops 308 00:17:31,720 --> 00:17:37,760 Speaker 1: person and it just looked it just looked absolutely mesmerizing. 309 00:17:37,880 --> 00:17:43,640 Speaker 1: It was grittier and like more in air quotes realistic 310 00:17:43,720 --> 00:17:46,840 Speaker 1: than anything I'd seen before then. And then you know, 311 00:17:46,920 --> 00:17:50,080 Speaker 1: playing it for the first time, you kind of never 312 00:17:51,320 --> 00:17:55,200 Speaker 1: there's just it's an indelible experience. It's one of those 313 00:17:55,240 --> 00:17:57,879 Speaker 1: games where kind of like Resident Evil but very different, 314 00:17:57,960 --> 00:18:01,640 Speaker 1: where your care or the character whoever you're controlling, whether 315 00:18:01,680 --> 00:18:05,679 Speaker 1: it's Jrol Er Ellie, feels so vulnerable, and that just 316 00:18:05,800 --> 00:18:10,200 Speaker 1: affects the way that you play the game. It creates 317 00:18:10,200 --> 00:18:13,640 Speaker 1: an enormous amount of tens just game I really love, 318 00:18:13,640 --> 00:18:16,560 Speaker 1: and I think it's one of the best stories told 319 00:18:16,760 --> 00:18:19,440 Speaker 1: in a video game of all time. Was your experience? 320 00:18:19,520 --> 00:18:22,840 Speaker 2: Yeah, I totally agree. Like this game and God of War, 321 00:18:22,920 --> 00:18:25,560 Speaker 2: those were like two big game changes for me. I'd 322 00:18:25,560 --> 00:18:30,360 Speaker 2: always been predominantly into fighting games and platformers, and I 323 00:18:30,440 --> 00:18:34,640 Speaker 2: really remember both of these games feeling like, oh, this 324 00:18:34,760 --> 00:18:38,840 Speaker 2: is if a platform game was three D and had 325 00:18:38,920 --> 00:18:42,600 Speaker 2: puzzles like tomb Raider, but was also a fighting game 326 00:18:42,800 --> 00:18:44,960 Speaker 2: and you have to learn different combos and different ways 327 00:18:44,960 --> 00:18:48,159 Speaker 2: to disarm people, and you can stealthily creep up on people, 328 00:18:48,240 --> 00:18:51,480 Speaker 2: and it was kind of I think about The Last 329 00:18:51,480 --> 00:18:53,560 Speaker 2: of Us a lot because it is this really interesting 330 00:18:53,560 --> 00:18:55,600 Speaker 2: cyclical thing, and as we cover this in the show, 331 00:18:55,640 --> 00:18:56,960 Speaker 2: I'm going to be just talking about this all the 332 00:18:56,960 --> 00:18:59,400 Speaker 2: time because it kind of blows my mind. So Last 333 00:18:59,400 --> 00:19:02,560 Speaker 2: of Us is develop in two thousand and nine, which 334 00:19:02,640 --> 00:19:06,960 Speaker 2: is six years after the Walking Dead comic comes out, 335 00:19:07,080 --> 00:19:11,680 Speaker 2: and the influence of The Walking Dead on the kind 336 00:19:11,680 --> 00:19:14,600 Speaker 2: of conception of this game and the tone of this game. 337 00:19:14,760 --> 00:19:19,040 Speaker 2: When you think of the comics, it can't really be erased, 338 00:19:19,119 --> 00:19:23,560 Speaker 2: you know, because it's such an unbelievable kind of change 339 00:19:23,560 --> 00:19:27,000 Speaker 2: in the way we approach zombie storytelling. But the thing 340 00:19:27,000 --> 00:19:30,200 Speaker 2: that blows my mind is the game was in development 341 00:19:30,520 --> 00:19:34,159 Speaker 2: a year before the Walking Dead TV show started, which 342 00:19:34,200 --> 00:19:38,080 Speaker 2: to me is just so wild because this establishes so 343 00:19:38,280 --> 00:19:42,080 Speaker 2: much of the tone and the vibe and the emotions 344 00:19:42,119 --> 00:19:43,960 Speaker 2: that then would go on to become a big part 345 00:19:44,000 --> 00:19:45,359 Speaker 2: of The Walking Dead. So I kind of see the 346 00:19:45,400 --> 00:19:47,080 Speaker 2: Last of Us in The Walking Dead as this really 347 00:19:47,119 --> 00:19:51,960 Speaker 2: interesting cyclical constantly inspiring each other and taking inspiration from 348 00:19:52,040 --> 00:19:52,440 Speaker 2: each other. 349 00:19:54,200 --> 00:19:56,960 Speaker 1: I see it very I see a lot of the 350 00:19:57,080 --> 00:19:58,720 Speaker 1: Road in it. To the Road, I think, oh, yeah, 351 00:19:58,760 --> 00:20:00,679 Speaker 1: I want to say it was published in two thousand 352 00:20:00,680 --> 00:20:01,040 Speaker 1: and six. 353 00:20:01,400 --> 00:20:03,320 Speaker 2: Yeah, coffee, I mean that. 354 00:20:03,720 --> 00:20:08,600 Speaker 1: Yeah. You know, first of all, it's in that story 355 00:20:08,720 --> 00:20:10,840 Speaker 1: you're talking about the relationshipsween a father and son. But 356 00:20:10,960 --> 00:20:14,399 Speaker 1: very similarly, it's like, you know, the father is the 357 00:20:14,400 --> 00:20:20,280 Speaker 1: protector of this teenage boy and and the kid is 358 00:20:21,640 --> 00:20:25,800 Speaker 1: so innocent in a way. We'll talk about the way 359 00:20:25,840 --> 00:20:28,119 Speaker 1: Elie is depicted in this. In this story, it's very 360 00:20:28,160 --> 00:20:31,440 Speaker 1: much similar, so innocent and kid like in a way 361 00:20:31,440 --> 00:20:33,879 Speaker 1: that feels dangerous in that world. And I think the 362 00:20:33,920 --> 00:20:36,600 Speaker 1: other thing that that really hit, you know, above and 363 00:20:36,640 --> 00:20:39,159 Speaker 1: beyond the fact that you're talking about this you know, 364 00:20:39,680 --> 00:20:43,800 Speaker 1: parent child kind of construction is, you know, in the road, 365 00:20:43,840 --> 00:20:47,560 Speaker 1: there's a moment where they get cornered by you know, 366 00:20:47,600 --> 00:20:52,720 Speaker 1: one of the cannibals that's that's roaming spoiler spoiler sorry, 367 00:20:53,119 --> 00:20:58,120 Speaker 1: and the dad shoots the guy. He had one bullet 368 00:20:58,160 --> 00:21:01,800 Speaker 1: in a revolver and then would carved to look like 369 00:21:01,880 --> 00:21:04,520 Speaker 1: bullets and painted black. That he so that he put 370 00:21:04,560 --> 00:21:05,800 Speaker 1: in the barrel so it would look like he had 371 00:21:05,840 --> 00:21:09,200 Speaker 1: a full barrel. And that kind of like lack of resources. 372 00:21:09,240 --> 00:21:11,560 Speaker 1: We've only got one of these, I've only got one 373 00:21:11,640 --> 00:21:16,639 Speaker 1: lighter and barely like it is is absolutely integral to 374 00:21:16,680 --> 00:21:19,440 Speaker 1: the experience of playing The Last of Us, in which 375 00:21:19,480 --> 00:21:22,600 Speaker 1: you're just scrounging around for every for like pieces of 376 00:21:22,680 --> 00:21:24,480 Speaker 1: things to make knives, to make band aids out of it, 377 00:21:24,520 --> 00:21:26,160 Speaker 1: to make health potions out of top grade. 378 00:21:26,160 --> 00:21:28,399 Speaker 2: You're gone, you know, like all different things. 379 00:21:28,680 --> 00:21:32,200 Speaker 1: One thing that also I wanted to mention is that 380 00:21:32,640 --> 00:21:38,240 Speaker 1: while you know Druckman is led the development of the game, 381 00:21:38,359 --> 00:21:42,400 Speaker 1: there's you know, there's like hundreds of artisans and crafts 382 00:21:42,440 --> 00:21:46,200 Speaker 1: people that you know were worked on this game. Below 383 00:21:46,200 --> 00:21:47,719 Speaker 1: the line. You can look up the Last of Us 384 00:21:47,720 --> 00:21:49,639 Speaker 1: credits and there's pages and pages of them too, and 385 00:21:50,080 --> 00:21:52,920 Speaker 1: they were while you know, Druckman's gonna be the headline name, 386 00:21:53,760 --> 00:21:55,600 Speaker 1: a lot of people worked on this game and they 387 00:21:55,680 --> 00:22:00,960 Speaker 1: created an absolute masterpiece. So let's talk about let's quick, 388 00:22:01,040 --> 00:22:04,200 Speaker 1: let's recap the game. We're going to cover the prologue 389 00:22:04,400 --> 00:22:10,720 Speaker 1: through the chapter the Cargo, and this game opens with 390 00:22:11,160 --> 00:22:16,920 Speaker 1: I think one of the most effective cold open prologus 391 00:22:17,720 --> 00:22:19,600 Speaker 1: ever in games, because it has to do several things. 392 00:22:19,640 --> 00:22:21,880 Speaker 1: One nest to launch your characters, make you care about them, 393 00:22:22,200 --> 00:22:24,359 Speaker 1: set up the world too. It has to teach you 394 00:22:24,400 --> 00:22:26,879 Speaker 1: how to play the game on some level. It has 395 00:22:26,920 --> 00:22:29,000 Speaker 1: to teach you how to move around, what the buttons do, 396 00:22:29,119 --> 00:22:32,800 Speaker 1: how to interact with objects. Has to teach you how 397 00:22:32,880 --> 00:22:35,480 Speaker 1: you know, how you move, what the movement speed is, 398 00:22:35,560 --> 00:22:37,760 Speaker 1: what the things you are going to interact with are, 399 00:22:39,040 --> 00:22:42,720 Speaker 1: and it does all those things in a really pulse 400 00:22:42,720 --> 00:22:47,399 Speaker 1: pounding way. The year is twenty thirteen. We're in Austin, Texas. Joel, 401 00:22:48,080 --> 00:22:52,479 Speaker 1: blue collar guy and a kind of like hobbyish guitar player, 402 00:22:52,840 --> 00:22:56,639 Speaker 1: is at home fielding phone calls about work, talking about work, 403 00:22:56,680 --> 00:22:59,359 Speaker 1: and it appears he's in the construction business and somehow 404 00:23:00,080 --> 00:23:02,320 Speaker 1: some form of fashion, he's talking about a contractor that 405 00:23:02,520 --> 00:23:04,800 Speaker 1: is either not doing what they're supposed to do or 406 00:23:04,880 --> 00:23:08,080 Speaker 1: has some kind of gripe. Meanwhile, his daughter Sarah is 407 00:23:08,119 --> 00:23:10,879 Speaker 1: asleep on the couch. It's just a regular night in that, Yeah. 408 00:23:10,920 --> 00:23:15,560 Speaker 2: Just a normal night that in no way kind of 409 00:23:15,680 --> 00:23:19,280 Speaker 2: hints towards the bleakness of what is to come. 410 00:23:20,119 --> 00:23:24,000 Speaker 1: Absolutely not, Joel is we discover on the phone with 411 00:23:24,040 --> 00:23:27,560 Speaker 1: his brother Tommy, who also is in business with him somehow, 412 00:23:27,600 --> 00:23:29,639 Speaker 1: and Joel's like, listen, we can We'll talk about this 413 00:23:29,640 --> 00:23:32,960 Speaker 1: stuff in the morning. It can wait. Sarah is out 414 00:23:33,000 --> 00:23:36,000 Speaker 1: of bed, way past her bedtime. And the reason she's 415 00:23:36,000 --> 00:23:38,840 Speaker 1: out of bed, you know, wearing pajama pants and a 416 00:23:38,880 --> 00:23:41,040 Speaker 1: T shirt and sleeping on the couch. The reason she's 417 00:23:41,080 --> 00:23:42,800 Speaker 1: doing this is because she wants to give her dad 418 00:23:42,840 --> 00:23:46,200 Speaker 1: a birthday gift. It is a new watch, and you 419 00:23:46,280 --> 00:23:48,640 Speaker 1: can be using this watch all throughout the game. It's 420 00:23:48,640 --> 00:23:51,720 Speaker 1: a new watch with like a military style field strap, 421 00:23:51,720 --> 00:23:55,679 Speaker 1: a replacement for an old his older broken watch. And 422 00:23:55,720 --> 00:23:59,280 Speaker 1: here we get some of the really wonderful voice acting 423 00:23:59,359 --> 00:24:05,320 Speaker 1: and dialogue with Troy Baker playing Joel, Ashley Johnson playing 424 00:24:05,359 --> 00:24:09,040 Speaker 1: Ellie Ashley Johnson. By the way, fun fact in Marvels 425 00:24:09,080 --> 00:24:12,679 Speaker 1: The Avengers, she is the waitress during the Battle of 426 00:24:12,680 --> 00:24:16,520 Speaker 1: New York YEP who runs out and is like, oh 427 00:24:16,560 --> 00:24:19,240 Speaker 1: my god, are the Tatari you gonna kill us all? No, 428 00:24:19,359 --> 00:24:24,760 Speaker 1: Captain Eric is here, that is Ashley Johnson. Joel says, 429 00:24:25,000 --> 00:24:27,480 Speaker 1: where'd you get the money for this? Drugs? I sell 430 00:24:27,520 --> 00:24:30,160 Speaker 1: hardcore drugs. Oh good, you can start helping with the mortgage. 431 00:24:30,200 --> 00:24:34,960 Speaker 1: Then funny shit. Then there is some plaintive acoustic guitar music, 432 00:24:34,960 --> 00:24:36,840 Speaker 1: which we're gonna get a lot of over the course 433 00:24:36,880 --> 00:24:39,919 Speaker 1: of this movie, and Sarah's fallen asleep. Joel carries her 434 00:24:39,920 --> 00:24:44,840 Speaker 1: to bed. Much much later, dead of night, Sarah's awoken 435 00:24:44,920 --> 00:24:48,680 Speaker 1: by the ringing telephone and it's Tommy and he sounds desperate. 436 00:24:48,840 --> 00:24:51,280 Speaker 1: He needs to talk to Joel, but before Sarah can 437 00:24:51,280 --> 00:24:53,040 Speaker 1: get any kind of information in the line goes dead, 438 00:24:53,440 --> 00:24:57,199 Speaker 1: and Sarah rises from bed really kind of groggy and confused. 439 00:24:57,200 --> 00:24:59,800 Speaker 1: And it's at this moment that the player takes control. 440 00:25:00,920 --> 00:25:05,920 Speaker 1: It's like it's a it's a pretty it's a jarring 441 00:25:06,000 --> 00:25:09,719 Speaker 1: moment because I think you're not expecting. Yeah, you know, 442 00:25:09,840 --> 00:25:12,760 Speaker 1: like you're you're hardwired at least I am that, like, oh, 443 00:25:12,800 --> 00:25:14,120 Speaker 1: at some point I'm gonna playing Chowl. 444 00:25:14,320 --> 00:25:14,520 Speaker 2: Yeah. 445 00:25:14,600 --> 00:25:16,960 Speaker 1: Like the fact that the first person that you work 446 00:25:17,040 --> 00:25:21,199 Speaker 1: that you are playing as is Sarah. Uh. Lets you 447 00:25:21,280 --> 00:25:23,760 Speaker 1: know how this game is going to really interestingly subvert 448 00:25:23,800 --> 00:25:25,440 Speaker 1: your expectations of video games. 449 00:25:25,480 --> 00:25:27,960 Speaker 2: I totally agree because also, like when I was first 450 00:25:28,000 --> 00:25:30,760 Speaker 2: playing it, I remember kind of thinking like, oh, well, 451 00:25:30,800 --> 00:25:34,280 Speaker 2: I haven't heard his name yet. Maybe This is actually 452 00:25:34,400 --> 00:25:37,000 Speaker 2: like Ellie's origin, and I didn't know about the time 453 00:25:37,119 --> 00:25:39,520 Speaker 2: job for anything, so I'm like, where could he be? 454 00:25:39,640 --> 00:25:41,679 Speaker 2: What's going on? And what I love about this is 455 00:25:41,720 --> 00:25:44,200 Speaker 2: like it has to do, like you said, a really 456 00:25:44,200 --> 00:25:49,600 Speaker 2: hard job. It essentially has to teach you what you 457 00:25:49,720 --> 00:25:52,440 Speaker 2: need to know about how to use the buttons, how 458 00:25:52,480 --> 00:25:55,520 Speaker 2: to move, how to interact, but in a way that 459 00:25:55,680 --> 00:25:59,320 Speaker 2: isn't an exposition dump and it doesn't have the it 460 00:25:59,359 --> 00:26:01,480 Speaker 2: doesn't have the kind of get out of like a 461 00:26:01,600 --> 00:26:03,520 Speaker 2: I remember with God of War. They'll just kind of 462 00:26:03,520 --> 00:26:05,040 Speaker 2: be like hit this button, hit this button, hit this 463 00:26:05,080 --> 00:26:06,920 Speaker 2: but y you can do it because you're like fighting 464 00:26:06,920 --> 00:26:09,639 Speaker 2: a demogrgan or a Titan or something, so it doesn't 465 00:26:09,640 --> 00:26:11,879 Speaker 2: feel odd because you're in that fighting game mood. But 466 00:26:12,000 --> 00:26:15,719 Speaker 2: here they're still building up to that big horrific reveal 467 00:26:15,760 --> 00:26:18,920 Speaker 2: and that big kind of tragic cold open, so it's 468 00:26:19,000 --> 00:26:21,840 Speaker 2: really interesting to kind of be walking around and they 469 00:26:21,840 --> 00:26:23,560 Speaker 2: want you to explore the room. That's one of my 470 00:26:23,600 --> 00:26:26,720 Speaker 2: favorite things about this game is it has that puzzle 471 00:26:27,400 --> 00:26:31,800 Speaker 2: element to it, like, yeah, this time I definitely found 472 00:26:31,840 --> 00:26:34,119 Speaker 2: different things. There's all different things you can interact with, 473 00:26:34,160 --> 00:26:36,439 Speaker 2: but this was the first time I think when I 474 00:26:36,480 --> 00:26:39,040 Speaker 2: was replaying it for the for the pod, where in 475 00:26:39,080 --> 00:26:41,199 Speaker 2: the bathroom there's a newspaper and when you pick up 476 00:26:41,200 --> 00:26:45,040 Speaker 2: the newspaper, the newspaper talks about how all these people 477 00:26:45,080 --> 00:26:48,320 Speaker 2: are getting sick and there's this bar, and you're like, oh, okay, 478 00:26:48,359 --> 00:26:51,240 Speaker 2: so this is a world where something weird has been 479 00:26:51,280 --> 00:26:53,320 Speaker 2: going on, but they never really saw it going this 480 00:26:53,359 --> 00:26:55,640 Speaker 2: way because you don't, right, we've lived it. Now it's 481 00:26:55,640 --> 00:26:59,520 Speaker 2: like you think it's gonna be okay, and uh yeah. 482 00:26:59,600 --> 00:27:03,560 Speaker 2: It's just such an immersive and interesting situation. And it's 483 00:27:03,680 --> 00:27:08,240 Speaker 2: very smart foreshadowing because immedia, it is immediately like, oh, 484 00:27:08,280 --> 00:27:10,520 Speaker 2: you won't just be playing as Joel. Get ready to 485 00:27:10,600 --> 00:27:13,120 Speaker 2: play and see this world through a kid's eyes, because 486 00:27:13,119 --> 00:27:14,960 Speaker 2: that's like a large pot of what you're going to 487 00:27:15,040 --> 00:27:15,480 Speaker 2: need to do. 488 00:27:16,280 --> 00:27:20,840 Speaker 1: It also subverts your concept, or at least my concept, 489 00:27:20,960 --> 00:27:26,120 Speaker 1: of what playing a video game means, because I think 490 00:27:26,119 --> 00:27:29,919 Speaker 1: in for much of the Last of Us, for like, 491 00:27:30,160 --> 00:27:33,080 Speaker 1: you know, I would say seventy percent of the game, 492 00:27:33,400 --> 00:27:36,600 Speaker 1: you're barely playing a video game. What I mean by 493 00:27:36,600 --> 00:27:40,160 Speaker 1: that is, you know, a video game is interactive, you're 494 00:27:40,200 --> 00:27:42,440 Speaker 1: playing as a character, right, But I think the way 495 00:27:42,440 --> 00:27:46,359 Speaker 1: most of us think of that is you're controlling this 496 00:27:46,600 --> 00:27:48,680 Speaker 1: you know, set of pixels, but you're making the decisions. 497 00:27:48,680 --> 00:27:51,159 Speaker 1: You're doing all the things. The last of us is 498 00:27:51,200 --> 00:27:54,480 Speaker 1: not that you are on rails. You are making certain 499 00:27:54,520 --> 00:27:58,840 Speaker 1: decisions in moments of action when you're taking on you know, 500 00:28:00,640 --> 00:28:04,200 Speaker 1: or fireflies are infected about how to move through the world, 501 00:28:04,280 --> 00:28:07,639 Speaker 1: about you know, like what to craft and how and 502 00:28:07,720 --> 00:28:11,480 Speaker 1: whether to either kill an enemy or sneak by them. 503 00:28:12,000 --> 00:28:17,000 Speaker 1: But Joel is going where he's going. Yeah, and you 504 00:28:17,040 --> 00:28:18,480 Speaker 1: can do nothing about that. 505 00:28:18,880 --> 00:28:22,240 Speaker 2: Yeah. I think it's one of the most interesting things 506 00:28:22,280 --> 00:28:26,560 Speaker 2: on this replay is like I understand in hindsight and 507 00:28:26,600 --> 00:28:28,920 Speaker 2: this is like on this is like knowing the lottery 508 00:28:29,000 --> 00:28:30,760 Speaker 2: numbers after you've already won. So this is not some 509 00:28:30,880 --> 00:28:34,080 Speaker 2: deep insight, but like I can see how part of 510 00:28:34,119 --> 00:28:38,200 Speaker 2: the reason that people loved this and how it got 511 00:28:38,280 --> 00:28:41,200 Speaker 2: so many new people into Triple A Gaming is this 512 00:28:41,560 --> 00:28:43,480 Speaker 2: is essentially a movie. 513 00:28:43,520 --> 00:28:44,320 Speaker 1: Yeah, it's a movie. 514 00:28:44,400 --> 00:28:47,440 Speaker 2: It feels like you're walking through a movie. Yeah, It's 515 00:28:47,560 --> 00:28:49,200 Speaker 2: like what if you were in a movie and you 516 00:28:49,200 --> 00:28:50,840 Speaker 2: could look at some things on the wall, or you 517 00:28:50,840 --> 00:28:53,840 Speaker 2: could occasionally feel like you're making a moral decision for 518 00:28:53,880 --> 00:28:57,360 Speaker 2: your character. But especially in this early stuff, you know 519 00:28:57,440 --> 00:28:59,800 Speaker 2: you will have people there guiding you where you need 520 00:28:59,840 --> 00:29:01,360 Speaker 2: to go. Even if you try and go in a 521 00:29:01,360 --> 00:29:05,000 Speaker 2: different direction and explore something, you will end up back 522 00:29:05,000 --> 00:29:06,520 Speaker 2: on the path that you need to be on because 523 00:29:06,560 --> 00:29:09,440 Speaker 2: there is a story that the creators wanted to tell. 524 00:29:09,480 --> 00:29:13,959 Speaker 2: And that might sound like it's constricting or you know, 525 00:29:14,360 --> 00:29:17,640 Speaker 2: it keeps you from exploring the world, but that's not 526 00:29:17,680 --> 00:29:20,520 Speaker 2: how it feels at all. And also the reason that 527 00:29:20,640 --> 00:29:22,800 Speaker 2: in this case I can definitely say that putting you 528 00:29:22,800 --> 00:29:24,760 Speaker 2: on those rails is right is because the story that 529 00:29:24,880 --> 00:29:28,120 Speaker 2: it tells is just so great and it has like 530 00:29:28,320 --> 00:29:30,720 Speaker 2: one of the best payoffs kind of. 531 00:29:30,640 --> 00:29:37,600 Speaker 1: All incredibly compelling. So, as Rosie mentioned, now the game 532 00:29:37,680 --> 00:29:40,640 Speaker 1: is asking us as Sarah to kind of explore the 533 00:29:40,640 --> 00:29:42,640 Speaker 1: world for the first time. And then the first piece 534 00:29:42,680 --> 00:29:44,560 Speaker 1: of this world that we can explore is Sarah's room, 535 00:29:44,640 --> 00:29:49,840 Speaker 1: and it is a typical teenage girls room, posters, magazine covers, 536 00:29:49,880 --> 00:29:52,840 Speaker 1: tacks to the wall as a boombox, lots of CDs, 537 00:29:52,880 --> 00:29:56,640 Speaker 1: it is twenty thirteen, there's a little TV, there's a 538 00:29:56,760 --> 00:29:59,960 Speaker 1: dresser with lots of little personal knickknacks and items and things, 539 00:30:00,360 --> 00:30:03,640 Speaker 1: and on top of the dresser we see a triangle 540 00:30:03,680 --> 00:30:06,040 Speaker 1: symbol draws us forward, and now all of a sudden 541 00:30:06,080 --> 00:30:08,280 Speaker 1: we understand, Okay, this is how we read things in 542 00:30:08,320 --> 00:30:10,200 Speaker 1: this world, so you can press it to read it. 543 00:30:10,600 --> 00:30:14,320 Speaker 1: And it's Sarah's birthday card for Joel, which she forgot 544 00:30:14,360 --> 00:30:16,280 Speaker 1: to give him. She says, I forgot to give him this. 545 00:30:16,800 --> 00:30:22,680 Speaker 1: And the cover is a green dinosaur, which is really 546 00:30:22,720 --> 00:30:26,560 Speaker 1: wonderful in retrospect, as I was kind of replaying, because 547 00:30:27,040 --> 00:30:31,200 Speaker 1: it's this first suggestion of one of the game's kind 548 00:30:31,240 --> 00:30:36,320 Speaker 1: of deep themes, which is extinction and life continuing. You know, 549 00:30:36,360 --> 00:30:40,520 Speaker 1: here's this image of a dinosaur, this creature that ruled 550 00:30:40,560 --> 00:30:42,760 Speaker 1: the earth for hundreds and hundreds and hundreds of millions 551 00:30:42,800 --> 00:30:44,440 Speaker 1: of years and died out, and now life goes on, 552 00:30:44,520 --> 00:30:48,360 Speaker 1: but in a different form. And it almost leads you 553 00:30:48,400 --> 00:30:53,000 Speaker 1: to wonder if Joel, you know, long after Joel and 554 00:30:53,040 --> 00:30:56,200 Speaker 1: Ellie and Tommy and Marlene and everybody have died out, 555 00:30:56,280 --> 00:31:01,640 Speaker 1: if the infected create some kind of world of their own, maybe, 556 00:31:01,800 --> 00:31:06,120 Speaker 1: you know, maybe there will be something else, some kind 557 00:31:06,160 --> 00:31:10,240 Speaker 1: of other thing that arises thousands and millions of years 558 00:31:10,280 --> 00:31:10,840 Speaker 1: after this. 559 00:31:11,080 --> 00:31:13,760 Speaker 2: I think that's one of the most prescient questions that 560 00:31:13,840 --> 00:31:17,360 Speaker 2: this game raises, And there's a really brilliant book by 561 00:31:17,400 --> 00:31:20,080 Speaker 2: Mike Kerrey called The Girl with All the Gifts, which 562 00:31:20,120 --> 00:31:24,720 Speaker 2: is very funny because the plotline and arcs of the 563 00:31:24,800 --> 00:31:27,920 Speaker 2: characters are very similar to the Last of Us. And 564 00:31:28,280 --> 00:31:31,320 Speaker 2: it came out like kind of just almost a year afterwards, 565 00:31:31,320 --> 00:31:33,040 Speaker 2: but obviously the book had been being written for a 566 00:31:33,080 --> 00:31:35,960 Speaker 2: long time. Mike Kerry's an X Men writer, just a 567 00:31:36,000 --> 00:31:41,560 Speaker 2: great guy, and that book basically takes that question and 568 00:31:41,760 --> 00:31:46,640 Speaker 2: adds this lens of who gets to choose who lives 569 00:31:46,680 --> 00:31:49,280 Speaker 2: and dies in those situations and what does it mean? 570 00:31:49,320 --> 00:31:53,520 Speaker 2: And it's so profound and I just cannot recommend that 571 00:31:53,560 --> 00:31:56,960 Speaker 2: book enough as a companion to the game and the show. 572 00:31:57,000 --> 00:31:58,760 Speaker 2: When you start watching it, and it's one of those 573 00:31:58,800 --> 00:32:02,320 Speaker 2: it's like Deep Impact and and Volcano and Dante's Peak, 574 00:32:02,360 --> 00:32:04,440 Speaker 2: but in this way, it happened with a video game 575 00:32:04,440 --> 00:32:06,640 Speaker 2: in a book, and it's I love that you pointed out, 576 00:32:06,640 --> 00:32:08,640 Speaker 2: because I think that's such a good get and kind 577 00:32:08,640 --> 00:32:12,840 Speaker 2: of that interesting notion as well of dinosaurs were terrifying 578 00:32:13,080 --> 00:32:17,760 Speaker 2: and they were all conquering, they ran the earth, and 579 00:32:17,840 --> 00:32:21,280 Speaker 2: now years later they are on a birthday card. 580 00:32:21,440 --> 00:32:22,960 Speaker 1: Yeah. A little cartoons and little. 581 00:32:22,720 --> 00:32:25,600 Speaker 2: Cute birthday card like and to imagine how far you'd 582 00:32:25,640 --> 00:32:28,800 Speaker 2: have to go into the future for the infected to 583 00:32:28,880 --> 00:32:32,200 Speaker 2: become something that was less scary and more of just 584 00:32:32,240 --> 00:32:35,920 Speaker 2: like a story people tell is really interesting to think about. 585 00:32:37,040 --> 00:32:40,200 Speaker 1: The overt theme, of course, of the game is love, 586 00:32:40,480 --> 00:32:43,600 Speaker 1: what you would do for someone you love. How love 587 00:32:43,680 --> 00:32:47,040 Speaker 1: and selfishness can kind of be the same thing. And 588 00:32:47,080 --> 00:32:50,080 Speaker 1: here we get a taste of how much Sarah loves 589 00:32:50,080 --> 00:32:52,520 Speaker 1: her dad. She's written in the card, Dear dad, Let's 590 00:32:52,560 --> 00:32:55,240 Speaker 1: see you're never around. You hate the music I'm into. 591 00:32:55,440 --> 00:32:58,600 Speaker 1: You practically despise the music I like, and yet somehow 592 00:32:58,600 --> 00:33:00,479 Speaker 1: you still manage to be the best dad year. How 593 00:33:00,480 --> 00:33:04,800 Speaker 1: do you do that? Heavy birthday pops? Love Sarah? Sarah, 594 00:33:05,000 --> 00:33:06,680 Speaker 1: Now you can do you can linger in the room, 595 00:33:06,720 --> 00:33:09,240 Speaker 1: you can do anything. But here we go into the 596 00:33:09,320 --> 00:33:12,160 Speaker 1: darkened house and Sarah's looking for a dad. She's calling 597 00:33:12,200 --> 00:33:14,200 Speaker 1: out for him as you move her through the through 598 00:33:14,240 --> 00:33:16,840 Speaker 1: the empty house, you go into the bedroom. Jol's bedroom 599 00:33:16,880 --> 00:33:19,880 Speaker 1: is empty. But here and this game is so good 600 00:33:19,920 --> 00:33:23,000 Speaker 1: at delivering exposition and little dribs and drabs, and at 601 00:33:23,200 --> 00:33:26,959 Speaker 1: just the right time, here his TV is on and 602 00:33:27,000 --> 00:33:30,120 Speaker 1: you get a local news report where the reporter is 603 00:33:30,120 --> 00:33:33,120 Speaker 1: standing on a local street in Austin and is delivering 604 00:33:33,200 --> 00:33:35,400 Speaker 1: terrifying news. There's some kind of infection on the loose. 605 00:33:35,880 --> 00:33:41,320 Speaker 1: Those who are stricken are apparently, you know, overcome by 606 00:33:42,040 --> 00:33:48,560 Speaker 1: aggressive and violent instincts. Behind the reporter, you see soldiers 607 00:33:49,040 --> 00:33:52,680 Speaker 1: patrolling scenes of destruction. There's buildings on fire behind them 608 00:33:53,560 --> 00:33:56,840 Speaker 1: that Sarah clearly, you know, seems to recognize that place. 609 00:33:56,880 --> 00:33:58,479 Speaker 1: She says, oh that, you know, I know where that is. 610 00:33:59,360 --> 00:34:01,720 Speaker 1: And you see the time, it's one forty seven am. 611 00:34:01,760 --> 00:34:04,560 Speaker 1: And then before anything else can happen, there's an explosion. 612 00:34:04,560 --> 00:34:08,640 Speaker 1: The building behind them explodes, and the news cuts short. 613 00:34:08,880 --> 00:34:12,320 Speaker 1: All of a sudden, there's dogs barking outside, which perfectly 614 00:34:12,400 --> 00:34:15,120 Speaker 1: leads you to turn Sarah towards the window, and you 615 00:34:15,160 --> 00:34:17,200 Speaker 1: look out the window, which has this view of some 616 00:34:17,280 --> 00:34:20,040 Speaker 1: woods and then the downtown Austin skyline behind it, and 617 00:34:20,080 --> 00:34:24,720 Speaker 1: there's just starting to be fires blooming behind those trees 618 00:34:24,760 --> 00:34:27,760 Speaker 1: somewhere in the city, and things are starting to get scary. 619 00:34:27,800 --> 00:34:30,520 Speaker 1: At this point, if you're playing this for the first time, 620 00:34:31,200 --> 00:34:33,080 Speaker 1: the hair is on the back of your neck. They're 621 00:34:33,160 --> 00:34:35,520 Speaker 1: just starting to stand up because this is a totally 622 00:34:35,600 --> 00:34:39,000 Speaker 1: darkened house, and that feeling of vulnerability is one that 623 00:34:39,080 --> 00:34:42,759 Speaker 1: this game will absolutely weaponize, and you're feeling it right 624 00:34:42,760 --> 00:34:44,319 Speaker 1: now for sure, for the first time. 625 00:34:44,640 --> 00:34:45,080 Speaker 2: Absolutely. 626 00:34:45,160 --> 00:34:49,840 Speaker 1: Sarah goes pilot Sarah downstairs. Now there's police cars racing 627 00:34:50,000 --> 00:34:53,320 Speaker 1: down the street. You see Joel's phone on the kitchen counter, 628 00:34:53,360 --> 00:34:56,239 Speaker 1: another triangle, you can pick it up. Sarah goes to 629 00:34:56,280 --> 00:34:58,640 Speaker 1: pick it up. Eight missed calls, a bunch of texts 630 00:34:58,640 --> 00:35:04,160 Speaker 1: from Tommy. No. Also clearly that just happened. The cell 631 00:35:04,200 --> 00:35:08,360 Speaker 1: phone towers just went down. It's happening fast, whatever is happening, 632 00:35:08,920 --> 00:35:10,560 Speaker 1: and you can see if the text that Tommy is 633 00:35:10,640 --> 00:35:13,760 Speaker 1: racing towards the house. There's a note on the fridge 634 00:35:13,760 --> 00:35:17,000 Speaker 1: for Sarah on the stationary of Sarah's youth soccer team. 635 00:35:17,040 --> 00:35:19,000 Speaker 1: It says, I'm going to be home late tonight. Go 636 00:35:19,000 --> 00:35:21,640 Speaker 1: ahead and order fruit. See you in the morning, dad. 637 00:35:23,440 --> 00:35:29,200 Speaker 1: Another nice character note. Just contrast the kind of like 638 00:35:29,320 --> 00:35:34,560 Speaker 1: loving and warm writing style of Sarah with Joel's very 639 00:35:34,680 --> 00:35:38,920 Speaker 1: utilitarian note here, no love, just see you in the morning, Dad, 640 00:35:39,920 --> 00:35:45,200 Speaker 1: and it leads you to imagine the regret that Joel 641 00:35:45,480 --> 00:35:48,319 Speaker 1: surely feels. As the rest of this story picks up 642 00:35:48,360 --> 00:35:51,920 Speaker 1: decades later, there's a light on in the study, and 643 00:35:52,000 --> 00:35:56,160 Speaker 1: this game uses light so well because that draws our attention. Again, 644 00:35:57,600 --> 00:36:01,440 Speaker 1: Sarah walks towards the light, which is again Joel's office, 645 00:36:01,600 --> 00:36:04,000 Speaker 1: and you walk by these sliding doors and you hear 646 00:36:05,280 --> 00:36:07,239 Speaker 1: there's like a strangled sound. I don't know how you 647 00:36:07,280 --> 00:36:09,040 Speaker 1: would describe it. Yeah, but it's kind of like half 648 00:36:09,040 --> 00:36:09,480 Speaker 1: a bark. 649 00:36:09,600 --> 00:36:13,640 Speaker 2: It's a kind of doctor roll strangled. It's horrible. It's 650 00:36:13,640 --> 00:36:16,560 Speaker 2: the kind of noise where where if you were in 651 00:36:16,600 --> 00:36:19,359 Speaker 2: a horror movie, you would say, I'm not going in there. 652 00:36:19,800 --> 00:36:21,879 Speaker 2: It's the nope noise. You're like, no. But she needs 653 00:36:21,880 --> 00:36:24,480 Speaker 2: to find her dad. She's worried. She's a kid. And 654 00:36:25,120 --> 00:36:30,000 Speaker 2: that's another thing that's very smart about this game, because 655 00:36:30,000 --> 00:36:34,960 Speaker 2: it puts you in vulnerable positions, but that take you 656 00:36:35,040 --> 00:36:39,000 Speaker 2: out of your own comfort zone. Everyone can remember being 657 00:36:39,040 --> 00:36:41,200 Speaker 2: a kid and creeping around your house and oh there's 658 00:36:41,200 --> 00:36:43,000 Speaker 2: a power cart, or you don't know where your parents are, 659 00:36:43,080 --> 00:36:45,840 Speaker 2: if you're woken up after a nightmare, and this opening 660 00:36:46,000 --> 00:36:48,919 Speaker 2: very much invokes that, so much so that I'm sure 661 00:36:48,960 --> 00:36:50,520 Speaker 2: there were players who were like, oh, I don't want 662 00:36:50,520 --> 00:36:52,200 Speaker 2: to play as a little girl. But I think by 663 00:36:52,239 --> 00:36:55,440 Speaker 2: the time you get to this and you're creeping slowly 664 00:36:55,520 --> 00:36:58,080 Speaker 2: into that room and you've heard that noise. I think 665 00:36:58,120 --> 00:37:02,440 Speaker 2: everyone at that point is in You're starting to feel 666 00:37:02,480 --> 00:37:04,600 Speaker 2: the fear, so that. 667 00:37:04,600 --> 00:37:07,920 Speaker 1: Noise happens, and you know, if you're a player like me, 668 00:37:08,480 --> 00:37:11,239 Speaker 1: you have Sarah look outside because you're standing right next 669 00:37:11,239 --> 00:37:14,200 Speaker 1: to a sliding glass door and the outside of the 670 00:37:14,239 --> 00:37:17,040 Speaker 1: backyard is completely dark, but very ominously like there's this 671 00:37:17,520 --> 00:37:20,239 Speaker 1: tire swing back there and it's moving and not like 672 00:37:20,320 --> 00:37:23,840 Speaker 1: the wind moved it, but moved, like moving like something 673 00:37:23,920 --> 00:37:26,359 Speaker 1: ran by it. Just as you enter the study, there's 674 00:37:26,360 --> 00:37:28,680 Speaker 1: another sliding guest glass door in there. It's open, and 675 00:37:28,760 --> 00:37:31,279 Speaker 1: Joel comes running and he's fucking panicked and he's like, 676 00:37:31,280 --> 00:37:35,680 Speaker 1: did anyone come in here? He's immediately goes over, gets 677 00:37:35,680 --> 00:37:38,000 Speaker 1: his gun from the jor he's loading it. He's telling 678 00:37:38,040 --> 00:37:40,359 Speaker 1: Sarah to stay away from the doors. Sarah's like, what's 679 00:37:40,640 --> 00:37:44,359 Speaker 1: going on? Joel says, the neighbors, the Cooper's they're sick. 680 00:37:44,440 --> 00:37:48,359 Speaker 1: Something's not right with them. And then before anything more 681 00:37:48,400 --> 00:37:51,160 Speaker 1: can happen, and here is like a scene that feels 682 00:37:51,239 --> 00:37:55,759 Speaker 1: ripped from twenty eight days later. Jimmy, who we am 683 00:37:55,719 --> 00:37:58,200 Speaker 1: me at? Who I believe to be Jimmy Cooper, that neighbor, 684 00:37:58,280 --> 00:38:02,120 Speaker 1: but now infect it. Yeah, just crashes through the glass 685 00:38:02,160 --> 00:38:04,400 Speaker 1: door and Joel has to shoot him. Joel has to 686 00:38:04,400 --> 00:38:06,759 Speaker 1: shoot him dead. Now Sarah is in a state of 687 00:38:06,800 --> 00:38:10,719 Speaker 1: absolute shock. Joel takes Sarah to the driveway. Tommy's there 688 00:38:11,280 --> 00:38:14,040 Speaker 1: just in the nick of time. Everybody jumps in and 689 00:38:14,120 --> 00:38:17,040 Speaker 1: now it's a race. The idea is it seems to 690 00:38:17,080 --> 00:38:21,200 Speaker 1: be take Highway seventy one kind of out of town 691 00:38:21,640 --> 00:38:24,799 Speaker 1: because the army is setting up roadblocks in order to 692 00:38:24,880 --> 00:38:27,680 Speaker 1: quarantine the area, probably wisely, so no one can get 693 00:38:27,680 --> 00:38:29,560 Speaker 1: I don't want the infection to spread, but they want 694 00:38:29,560 --> 00:38:31,400 Speaker 1: to be on the other side of that. But because clearly, 695 00:38:31,480 --> 00:38:34,440 Speaker 1: like the infected, it's not like they're just sick in 696 00:38:34,480 --> 00:38:39,600 Speaker 1: their bedrooms. They're running around doing really bad shit. This 697 00:38:39,680 --> 00:38:42,560 Speaker 1: is haro. This is when you're just like, oh fuck. 698 00:38:42,600 --> 00:38:45,799 Speaker 2: Yeah, and this does and another great exposition. They're in 699 00:38:45,840 --> 00:38:47,600 Speaker 2: the car. What does that mean. That means they can 700 00:38:47,640 --> 00:38:50,400 Speaker 2: listen to the radio, so you're getting this information. And 701 00:38:50,480 --> 00:38:52,600 Speaker 2: what I loved about this that I was doing the 702 00:38:52,640 --> 00:38:54,560 Speaker 2: whole time, when I was playing at this time, you 703 00:38:54,640 --> 00:38:56,960 Speaker 2: mentioned the you know this lighting glass doors and the 704 00:38:57,000 --> 00:38:59,400 Speaker 2: ability to look out of windows. That's something that blows 705 00:38:59,400 --> 00:39:02,680 Speaker 2: my mind in this game because there is constantly things 706 00:39:02,760 --> 00:39:05,680 Speaker 2: going on, whether it's the wind blowing something or building 707 00:39:05,680 --> 00:39:09,120 Speaker 2: blowing up. And when you're in the car, you can 708 00:39:09,280 --> 00:39:13,000 Speaker 2: in the backseat as Sarah just constantly turn around and 709 00:39:13,080 --> 00:39:15,440 Speaker 2: the look and I was getting so scared, like I 710 00:39:15,440 --> 00:39:17,840 Speaker 2: would see something and I was sure that somebody was 711 00:39:17,880 --> 00:39:19,360 Speaker 2: going to come and get me. And you can really 712 00:39:19,360 --> 00:39:22,840 Speaker 2: build up that tension as they're kind of leading you 713 00:39:22,920 --> 00:39:25,360 Speaker 2: through like oh this is bad, but you're there and 714 00:39:25,400 --> 00:39:28,080 Speaker 2: you can hear them talking, and you can really just 715 00:39:28,120 --> 00:39:31,200 Speaker 2: be looking at the You see people packing up their cars, 716 00:39:31,239 --> 00:39:33,520 Speaker 2: you see things like exploding in the background, you see 717 00:39:33,560 --> 00:39:36,440 Speaker 2: things running across the road. It's wonderful. 718 00:39:37,560 --> 00:39:39,799 Speaker 1: About that exposition. We get some more of it now 719 00:39:39,840 --> 00:39:44,160 Speaker 1: where Tommy is. You know, Tommy's super excited. He is 720 00:39:44,239 --> 00:39:47,680 Speaker 1: saying that whatever's happening here, this outbreak, they thought it 721 00:39:47,719 --> 00:39:49,799 Speaker 1: was just happening in the Southwest, but appears to be 722 00:39:49,840 --> 00:39:52,359 Speaker 1: happening all over the country, and that leads you to wonder, 723 00:39:52,480 --> 00:39:56,160 Speaker 1: like is it happening all around the world. Sarah asks 724 00:39:56,560 --> 00:39:58,680 Speaker 1: the question that I think anyone would ask, which is like, 725 00:39:58,719 --> 00:40:01,480 Speaker 1: are we sick? Is it us? And then Joel and 726 00:40:01,520 --> 00:40:04,320 Speaker 1: you can feel his that that kind of like fatherly 727 00:40:04,400 --> 00:40:07,960 Speaker 1: impulse to like shield his child from anything troubling or 728 00:40:08,040 --> 00:40:11,600 Speaker 1: dangerous or worrying. He's like, no, no, no, no, we're fine. Uh, 729 00:40:11,800 --> 00:40:14,040 Speaker 1: it's just the people in the city that are sick. 730 00:40:14,080 --> 00:40:15,080 Speaker 1: Now we're fine. 731 00:40:15,120 --> 00:40:15,319 Speaker 2: Yeah. 732 00:40:15,360 --> 00:40:20,080 Speaker 1: Yeah, Jimmy Cooper worked in the city. He's he mentions. 733 00:40:20,440 --> 00:40:24,719 Speaker 1: So now it's letting you know where Joel's head is at. 734 00:40:25,960 --> 00:40:31,319 Speaker 2: They established Joel's in this moment. They're like, don't get 735 00:40:31,320 --> 00:40:33,120 Speaker 2: it twisted. This is who this man is. 736 00:40:33,640 --> 00:40:36,000 Speaker 1: Yeah. So there's a family on the road with kids 737 00:40:36,200 --> 00:40:39,439 Speaker 1: and they look scared, and Tommy's like, oh, we should stop, 738 00:40:39,440 --> 00:40:42,239 Speaker 1: and Joel's like, no, no, no, no, you keep going. We're 739 00:40:42,280 --> 00:40:45,080 Speaker 1: not stopping. Somebody will come for them. You haven't seen 740 00:40:45,120 --> 00:40:47,120 Speaker 1: what I've seen. And we keep going, and here you 741 00:40:47,400 --> 00:40:50,000 Speaker 1: get you know again, this is who Joel is. When 742 00:40:50,080 --> 00:40:53,160 Speaker 1: Joel is with the people he cares about, everybody else 743 00:40:53,160 --> 00:40:54,879 Speaker 1: can go fuck off. He doesn't care. 744 00:40:55,080 --> 00:40:57,600 Speaker 2: There's a great line that I love where Tommy's like, 745 00:40:57,960 --> 00:41:01,160 Speaker 2: but they have kids, and he said so do yeah, 746 00:41:01,160 --> 00:41:04,240 Speaker 2: And you know, Sarah is very hurt by this moment. 747 00:41:04,360 --> 00:41:06,719 Speaker 2: Kind of for a couple of minutes. Afterwards she will 748 00:41:06,760 --> 00:41:08,680 Speaker 2: say like, we should have helped them, We should have 749 00:41:08,719 --> 00:41:12,560 Speaker 2: helped them, alas probably bad for that family they didn't 750 00:41:12,600 --> 00:41:17,200 Speaker 2: get in the car. Honestly, I mean, there's no there's 751 00:41:17,200 --> 00:41:18,080 Speaker 2: no good version. 752 00:41:18,480 --> 00:41:23,480 Speaker 1: There's no good version. There's zero good version. Right yeah, yeah, Uh. 753 00:41:23,560 --> 00:41:26,839 Speaker 1: Tommy runs into the back of a gigantic traffic jam. 754 00:41:26,960 --> 00:41:30,799 Speaker 1: Everybody who is awake at this time has been listening 755 00:41:30,840 --> 00:41:32,480 Speaker 1: to the news is trying to do the exact same 756 00:41:32,520 --> 00:41:34,759 Speaker 1: thing they're doing, which a nightmak at a time, it's 757 00:41:34,760 --> 00:41:38,080 Speaker 1: a nightmare. And then right in front of them, as 758 00:41:38,080 --> 00:41:41,719 Speaker 1: they're wondering, okay, what do we do, somebody gets out 759 00:41:41,760 --> 00:41:44,359 Speaker 1: of their car to yell, hey, like, what's the hold up? 760 00:41:44,400 --> 00:41:48,560 Speaker 1: And they're just immediately set upon by infected. It's horrific. 761 00:41:49,520 --> 00:41:53,279 Speaker 1: They get out of there, Tommy accelerates, They take a 762 00:41:53,360 --> 00:41:56,560 Speaker 1: turn and end up like on a on the streets 763 00:41:56,760 --> 00:42:01,520 Speaker 1: of like a town that looks like like a a village, 764 00:42:01,560 --> 00:42:06,680 Speaker 1: like on the outskirts of Austin somewhere. There's people running everywhere, 765 00:42:07,000 --> 00:42:09,359 Speaker 1: and then they get t boned by another vehicle and 766 00:42:09,400 --> 00:42:10,400 Speaker 1: everything goes black. 767 00:42:10,520 --> 00:42:12,480 Speaker 2: Yeah. I just also want to say, before this, there's 768 00:42:12,520 --> 00:42:16,600 Speaker 2: another really great Joel is like sucks moment, which is 769 00:42:16,680 --> 00:42:20,160 Speaker 2: like they're they're outside like a movie theater and all 770 00:42:20,200 --> 00:42:21,960 Speaker 2: these people are running like you said, and they're kind 771 00:42:21,960 --> 00:42:25,920 Speaker 2: of stuck and and and he's just like he's just 772 00:42:25,920 --> 00:42:28,600 Speaker 2: like driving them. He's like running over and Tommy's like, no, 773 00:42:28,680 --> 00:42:30,680 Speaker 2: I'm not gonna do that, Like I can't do that. 774 00:42:30,800 --> 00:42:32,799 Speaker 2: There's and He's like, there's people behind us too, and 775 00:42:32,840 --> 00:42:35,520 Speaker 2: Joel's like, I don't care, just reverse, like just kill them. 776 00:42:35,760 --> 00:42:39,960 Speaker 2: Like you said, it's a tunnel vision of protecting the 777 00:42:40,000 --> 00:42:43,840 Speaker 2: people that he loves to the point where he's built 778 00:42:43,880 --> 00:42:46,640 Speaker 2: up these walls towards everyone else, and everyone else, like 779 00:42:46,680 --> 00:42:48,440 Speaker 2: you said, can just go get fucked. But yeah, they 780 00:42:48,480 --> 00:42:50,480 Speaker 2: t boned. It's all going badly for them. 781 00:42:50,960 --> 00:42:52,440 Speaker 1: And by the way, this is where you know we're 782 00:42:52,440 --> 00:42:54,960 Speaker 1: gonna be talking about this all throughout. I'm sure the 783 00:42:55,040 --> 00:42:57,840 Speaker 1: show are coverage of the show and are continuing coverage 784 00:42:57,840 --> 00:43:01,479 Speaker 1: of the game, because it's the central question of this 785 00:43:02,239 --> 00:43:06,560 Speaker 1: story is if you had to give up someone you 786 00:43:06,680 --> 00:43:11,000 Speaker 1: love to allow everyone else to have everyone they love 787 00:43:11,560 --> 00:43:16,600 Speaker 1: cured free of the dangers of this terrible cordyceps fungus 788 00:43:16,640 --> 00:43:20,719 Speaker 1: that's out there to basically save the world. Would you 789 00:43:20,760 --> 00:43:24,480 Speaker 1: do it? And the answer for Joel, and you know 790 00:43:24,560 --> 00:43:28,120 Speaker 1: it from the first minutes you play this game, before 791 00:43:28,120 --> 00:43:30,080 Speaker 1: you even start playing, as in, what you're about to 792 00:43:30,120 --> 00:43:33,880 Speaker 1: do is no. So after we wake up from this 793 00:43:33,960 --> 00:43:38,840 Speaker 1: car crash, we're now Joel. We've the players taking control 794 00:43:38,880 --> 00:43:44,399 Speaker 1: of Joel, and we crawl out of the wreck and 795 00:43:44,520 --> 00:43:49,280 Speaker 1: are immediately attacked by an infected And here again comes 796 00:43:49,360 --> 00:43:54,360 Speaker 1: the tutorial portion of this cold open. You're told you 797 00:43:54,400 --> 00:43:56,560 Speaker 1: can hit the square button to kind of like get 798 00:43:56,600 --> 00:43:58,640 Speaker 1: the infected off you. You kind of like hammer that 799 00:43:58,680 --> 00:44:03,080 Speaker 1: square button. This is another of like a thing that 800 00:44:03,320 --> 00:44:05,880 Speaker 1: people who played the Uncharted games would be familiar with 801 00:44:06,000 --> 00:44:08,759 Speaker 1: this kind of mechanic. And again I'll point out, like 802 00:44:08,840 --> 00:44:11,960 Speaker 1: this is barely interactive. This is not you know, you're 803 00:44:12,000 --> 00:44:14,360 Speaker 1: not like you're just like button mashing. This is like 804 00:44:14,440 --> 00:44:18,359 Speaker 1: barely barely a game. And I mean that in the 805 00:44:18,360 --> 00:44:24,160 Speaker 1: most complimentary way, because it just it keeps you invested 806 00:44:25,000 --> 00:44:28,480 Speaker 1: by letting you do the most efficient and like simple thing. 807 00:44:29,000 --> 00:44:33,880 Speaker 1: So we realize now it's Pandemoni on the streets. Joel 808 00:44:33,960 --> 00:44:36,760 Speaker 1: gets Sarah out of the car. She's hurt her legs 809 00:44:36,800 --> 00:44:41,280 Speaker 1: probably broken. Joel gives Tommy the gun, picks up Sarah, 810 00:44:41,360 --> 00:44:43,120 Speaker 1: and now we're running. And at this point I don't 811 00:44:43,160 --> 00:44:47,560 Speaker 1: know about you, Rosie, but at this point, as you're 812 00:44:47,600 --> 00:44:51,040 Speaker 1: kind of maneuvering through danger and picking away through the 813 00:44:51,120 --> 00:44:54,440 Speaker 1: crowds with Tommy covering us, and you're trying to kind 814 00:44:54,440 --> 00:44:57,200 Speaker 1: of dodging infected and dodging other people, I'm this is 815 00:44:57,239 --> 00:45:00,080 Speaker 1: when the first time I played I started to think, Oh, 816 00:45:00,160 --> 00:45:01,799 Speaker 1: I think this is kind of what the game is 817 00:45:01,800 --> 00:45:03,439 Speaker 1: going to be. Yeah, this is the game. 818 00:45:03,520 --> 00:45:06,080 Speaker 2: It's right and evil. You have to submit. Yeah, it's 819 00:45:06,160 --> 00:45:07,840 Speaker 2: kind of like the Walking Dead O g out of 820 00:45:07,880 --> 00:45:09,760 Speaker 2: the city, but you're going to keep coming up against 821 00:45:09,800 --> 00:45:13,560 Speaker 2: different infected communities. But right now, it's like you're in 822 00:45:13,560 --> 00:45:16,480 Speaker 2: that town. It's very Raccoon city, Like you have to 823 00:45:16,480 --> 00:45:17,800 Speaker 2: get out, you have to survive. 824 00:45:19,080 --> 00:45:23,879 Speaker 1: Oh, how wrong we are, Uh, extremely wrong. There are 825 00:45:23,960 --> 00:45:26,960 Speaker 1: lots of horrors to be seen here on this kind 826 00:45:27,000 --> 00:45:29,759 Speaker 1: of like run to safety wherever safety could be. There 827 00:45:29,840 --> 00:45:36,040 Speaker 1: is like a gas station that explodes, there's people on fire. Uh. Joel, 828 00:45:36,239 --> 00:45:40,239 Speaker 1: Sarah and Tommy end up in an alleyway. Tommy has 829 00:45:40,280 --> 00:45:44,239 Speaker 1: to shoot an infected uh, and then Tommy ends up. 830 00:45:44,400 --> 00:45:48,000 Speaker 1: They end up cutting through like a bar with Tommy 831 00:45:48,040 --> 00:45:51,200 Speaker 1: holding the door against the infected Hodor style so that 832 00:45:51,320 --> 00:45:54,440 Speaker 1: Joel and Sarah can escape, and you end up piloting 833 00:45:54,520 --> 00:45:57,120 Speaker 1: Joel to a wooded path. There's a bunch of crash 834 00:45:57,239 --> 00:45:59,279 Speaker 1: cars here, and at the top of the path there 835 00:45:59,360 --> 00:46:02,880 Speaker 1: is a soldier who helpfully mows down the infected that 836 00:46:02,920 --> 00:46:07,880 Speaker 1: have been chasing you and Sarah. But something isn't and 837 00:46:07,960 --> 00:46:10,120 Speaker 1: you could tell that something is right because the soldier 838 00:46:10,200 --> 00:46:13,200 Speaker 1: is like, don't hold on, you stay right there, and 839 00:46:13,239 --> 00:46:16,799 Speaker 1: then confers with someone over the radio to be like, Okay, 840 00:46:16,840 --> 00:46:19,959 Speaker 1: what are we doing here, I've got like two people? Yeah, 841 00:46:20,080 --> 00:46:23,560 Speaker 1: got it, and Joel knows what's coming. The soldier opens fire, 842 00:46:24,120 --> 00:46:28,120 Speaker 1: everybody falls down the hill. Tommy shoots the soldier, putting 843 00:46:28,120 --> 00:46:33,800 Speaker 1: that thread out, but heartbreakingly, Joel crawls over to Sarah 844 00:46:33,840 --> 00:46:36,600 Speaker 1: and she's hit in the stomach and she dies in 845 00:46:36,680 --> 00:46:42,080 Speaker 1: really one of the most realistic video game deaths in 846 00:46:42,120 --> 00:46:46,560 Speaker 1: the sense that there's no fucking music, there's no you know, 847 00:46:46,600 --> 00:46:49,920 Speaker 1: there's no text on the screen. She doesn't even finish 848 00:46:50,000 --> 00:46:54,760 Speaker 1: what she's saying. She just dies, and the voice acting 849 00:46:54,840 --> 00:47:00,759 Speaker 1: is incredible. The graphics are just troublingly real, and it's 850 00:47:00,800 --> 00:47:01,600 Speaker 1: a brutal moment. 851 00:47:02,080 --> 00:47:07,160 Speaker 3: Yeah, I I I mean, there's there's so there's so 852 00:47:07,360 --> 00:47:11,799 Speaker 3: many brilliant little choices that happen for this when he's 853 00:47:11,840 --> 00:47:13,960 Speaker 3: on when the soldier is on the radio. 854 00:47:14,920 --> 00:47:17,120 Speaker 2: In case you are not as cynical as Joel and 855 00:47:17,160 --> 00:47:20,920 Speaker 2: you don't understand what's going on, he says, but one 856 00:47:20,960 --> 00:47:24,040 Speaker 2: of them's a little girl. And that's when you know. 857 00:47:24,960 --> 00:47:27,960 Speaker 2: I love this choice. Like obviously, irp Sarah like I don't. 858 00:47:28,000 --> 00:47:29,880 Speaker 2: I don't love their little kid died. In fact, as 859 00:47:29,960 --> 00:47:33,880 Speaker 2: a as I'm growing older, my my capacity for violence 860 00:47:34,040 --> 00:47:37,920 Speaker 2: is sim is lowering, and I found the replay of 861 00:47:37,960 --> 00:47:41,520 Speaker 2: the game is incredibly violent. But I love this choice 862 00:47:41,520 --> 00:47:44,879 Speaker 2: so much. I think it's the strongest choice until the end, 863 00:47:44,880 --> 00:47:46,560 Speaker 2: which has like one of my favorite kind of moral 864 00:47:46,640 --> 00:47:49,759 Speaker 2: quandary endings that I love. But I think that the 865 00:47:49,880 --> 00:47:54,839 Speaker 2: choice to have Sarah killed by the soldiers is like 866 00:47:54,920 --> 00:47:58,959 Speaker 2: the smartest choice that this game makes because it would 867 00:47:58,960 --> 00:48:01,560 Speaker 2: have been so easy for her to just die from 868 00:48:01,600 --> 00:48:04,640 Speaker 2: being killed by one of the infected. That's the nature 869 00:48:04,640 --> 00:48:07,520 Speaker 2: of zombie games. It gives them a reason to hate zombies. 870 00:48:07,840 --> 00:48:10,520 Speaker 2: Or the infected. The clickers' is like, oh, this is 871 00:48:10,560 --> 00:48:15,880 Speaker 2: really terrible, but instead it's that horror of humanity. It's like, 872 00:48:16,000 --> 00:48:17,880 Speaker 2: this is what people will do when they're put in 873 00:48:17,880 --> 00:48:20,680 Speaker 2: this situation. They won't help you, they'll follow orders and 874 00:48:20,680 --> 00:48:25,000 Speaker 2: they'll just kill a child. And it sets up how 875 00:48:25,080 --> 00:48:29,120 Speaker 2: angry Joel is. And when you're killing many many soldiers 876 00:48:29,120 --> 00:48:31,440 Speaker 2: as you do throughout the game, you're like, you know 877 00:48:31,480 --> 00:48:33,880 Speaker 2: what they shot Sarah, You're like, this is okay. 878 00:48:34,920 --> 00:48:39,839 Speaker 1: Not to mention it's all like really trenching points, and 879 00:48:39,880 --> 00:48:45,239 Speaker 1: not to mention that the soldier from a different perspective 880 00:48:46,239 --> 00:48:48,319 Speaker 1: is doing exactly what Joel does at the end of 881 00:48:48,320 --> 00:48:52,960 Speaker 1: this fucking game, which is kill the thing that is 882 00:48:53,120 --> 00:48:58,640 Speaker 1: the danger because in making that choice to take lives 883 00:48:58,760 --> 00:49:02,320 Speaker 1: because this is for the greater good. Now, in terms 884 00:49:02,320 --> 00:49:05,960 Speaker 1: of Joel, the greater good is the personal relationship that 885 00:49:06,040 --> 00:49:09,319 Speaker 1: he is going to develop with Ellie and everything else 886 00:49:09,360 --> 00:49:10,920 Speaker 1: and everybody else in the world can fuck off. For 887 00:49:11,000 --> 00:49:15,239 Speaker 1: the soldier, it's if this infection gets out, we're fucked. Like, 888 00:49:15,320 --> 00:49:18,359 Speaker 1: it's terrible for all these people. I Like, I'm not 889 00:49:18,480 --> 00:49:22,560 Speaker 1: saying it's this isn't horrible, but this infection can't get out. 890 00:49:22,640 --> 00:49:25,600 Speaker 2: No. I love that take because you know what else 891 00:49:26,360 --> 00:49:28,799 Speaker 2: that is incredibly smart that you've kind of just given 892 00:49:28,840 --> 00:49:32,120 Speaker 2: me a light bulb moment about, is like, you, we 893 00:49:32,239 --> 00:49:34,800 Speaker 2: kill so many people in this game, especially in the 894 00:49:34,880 --> 00:49:38,120 Speaker 2: Believing You are Trust Me, you kill barely any infected. 895 00:49:38,239 --> 00:49:40,279 Speaker 2: In the opening chapters of this game. You just kill 896 00:49:40,320 --> 00:49:46,480 Speaker 2: a lot of people. And it's kind of unbelievably smart 897 00:49:46,600 --> 00:49:49,480 Speaker 2: and surprisingly empathetic for a game like this, in like 898 00:49:49,520 --> 00:49:52,560 Speaker 2: a post kind of Call of Juty world to begin 899 00:49:52,719 --> 00:49:57,879 Speaker 2: with the death that is so emotionally hammering and then 900 00:49:57,920 --> 00:49:59,640 Speaker 2: be like, oh, you have to kill a lot of people, 901 00:50:00,239 --> 00:50:02,920 Speaker 2: and every time you kill someone, what the game really 902 00:50:02,960 --> 00:50:06,320 Speaker 2: wants you to be doing is thinking about Sarah dying 903 00:50:06,400 --> 00:50:10,080 Speaker 2: and how much that ruined you, and who would be 904 00:50:10,200 --> 00:50:13,320 Speaker 2: ruined by these people's deaths that you're just so casually causing. 905 00:50:13,360 --> 00:50:17,239 Speaker 2: It's very smart storytelling, and it just sets up the 906 00:50:17,320 --> 00:50:20,800 Speaker 2: kind of bleak tone, and obviously on a narrative level, 907 00:50:21,200 --> 00:50:24,960 Speaker 2: it establishes like a really really great conflict and an 908 00:50:25,080 --> 00:50:27,400 Speaker 2: arc for Joe that will go on, especially when he 909 00:50:27,440 --> 00:50:31,839 Speaker 2: meets Ellie. But yeah, I just I think it's such 910 00:50:31,880 --> 00:50:34,920 Speaker 2: a good, brave decision to have it be a soldier, 911 00:50:35,000 --> 00:50:38,680 Speaker 2: a human who kills her. That's always the most heartbreaking 912 00:50:39,440 --> 00:50:43,120 Speaker 2: version of these kind of things. There's a brilliant Walking 913 00:50:43,160 --> 00:50:47,560 Speaker 2: Dead spin off show that was like a ya spin 914 00:50:47,560 --> 00:50:50,480 Speaker 2: off show. I think it was called Walking Dead World Beyond, 915 00:50:50,760 --> 00:50:53,600 Speaker 2: but it has a very It definitely took a lot 916 00:50:53,640 --> 00:50:56,640 Speaker 2: from this because there's a really great storyline about one 917 00:50:56,640 --> 00:50:59,200 Speaker 2: of the kids coming to terms with killing a zombie 918 00:50:59,680 --> 00:51:03,239 Speaker 2: killing walker, but the reality is that they killed a 919 00:51:03,320 --> 00:51:06,520 Speaker 2: human and that's really what they're coming to terms within it. 920 00:51:06,640 --> 00:51:11,880 Speaker 2: I just think that is the most interesting area to 921 00:51:12,000 --> 00:51:16,080 Speaker 2: explore in these zombie stories. Nobody. Look, we've seen so 922 00:51:16,200 --> 00:51:18,960 Speaker 2: many zombie stories in our in our lifetime, but what 923 00:51:19,120 --> 00:51:23,279 Speaker 2: really catches people about this about the Walking Dead, that 924 00:51:23,560 --> 00:51:28,719 Speaker 2: nature of humanity and how it responds in that circumstance. 925 00:51:28,840 --> 00:51:32,160 Speaker 2: That is the story that we want to see. And 926 00:51:32,200 --> 00:51:35,000 Speaker 2: I think that's why The walk that's why The Last 927 00:51:35,040 --> 00:51:38,560 Speaker 2: of Us was so affecting because of little choices like this. 928 00:51:39,280 --> 00:51:42,880 Speaker 1: It's maybe the best, most effective, most impactful for me 929 00:51:43,200 --> 00:51:49,120 Speaker 1: version of like the classic zombie story theme, which is 930 00:51:49,640 --> 00:51:54,880 Speaker 1: actually were the monsters? Yeah the zombies are doing yeah 931 00:51:54,920 --> 00:51:57,400 Speaker 1: the zombie Yeah, it's us. The zombies are doing what 932 00:51:57,480 --> 00:52:01,080 Speaker 1: they do. Uh, they're a state of nature, you know. 933 00:52:01,360 --> 00:52:04,160 Speaker 1: But we are the ones making the choice to torture 934 00:52:04,200 --> 00:52:07,480 Speaker 1: each other, to exploit each other for our things, for 935 00:52:07,560 --> 00:52:11,600 Speaker 1: our resources, to sell things and sell people to survive. 936 00:52:12,360 --> 00:52:15,880 Speaker 1: We are the ones choosing to do that. The infect 937 00:52:15,880 --> 00:52:17,840 Speaker 1: that are living out there in a very in a 938 00:52:17,880 --> 00:52:21,239 Speaker 1: state of balance, not attacking each other. Certainly, X ray 939 00:52:21,280 --> 00:52:25,719 Speaker 1: vision will be back. X ray Vision is brought to 940 00:52:25,719 --> 00:52:29,080 Speaker 1: you by Smile Actives. Are you self conscious about your 941 00:52:29,120 --> 00:52:33,440 Speaker 1: smile due to stains? Are your teeth aging you? Popular 942 00:52:33,520 --> 00:52:37,960 Speaker 1: food and drinks are known to stain teeth. Beverages like coffee, 943 00:52:39,160 --> 00:52:43,799 Speaker 1: which I drink by the gallon, and wine stain them 944 00:52:43,800 --> 00:52:46,880 Speaker 1: over time. So what can you do to brighten your smile? Well, 945 00:52:47,040 --> 00:52:49,920 Speaker 1: you should give smile Actives a try. Smile Actives is safe, 946 00:52:50,520 --> 00:52:52,040 Speaker 1: it's a big deal. It's going to be in your mouth, 947 00:52:52,480 --> 00:52:54,920 Speaker 1: easy to use, and it will keep you smiling proudly. 948 00:52:55,160 --> 00:52:58,120 Speaker 1: Ninety seven percent of Smile Actives users in a clinical 949 00:52:58,160 --> 00:53:00,600 Speaker 1: trial reported up to six shades wide or on average, 950 00:53:00,640 --> 00:53:04,640 Speaker 1: all within thirty days. That's a regular old month. 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We cut to twenty 1019 00:56:41,840 --> 00:56:44,080 Speaker 1: years later and we meet Joel. Now he's waking up. 1020 00:56:44,400 --> 00:56:49,719 Speaker 1: He is grayer, obviously hardened by the years that have 1021 00:56:49,840 --> 00:56:53,120 Speaker 1: passed and the loss that he has suffered. He wakes 1022 00:56:53,239 --> 00:56:56,000 Speaker 1: up at a secure safe quarantine zone in what is 1023 00:56:56,040 --> 00:57:00,680 Speaker 1: still called Boston, to pounding on the door, and the 1024 00:57:00,719 --> 00:57:05,760 Speaker 1: person at his door is Tess is hard drinking partner 1025 00:57:05,800 --> 00:57:11,319 Speaker 1: and smuggling and also lover. We can love that, evenly. 1026 00:57:11,120 --> 00:57:15,480 Speaker 2: It's sulling here. These two are almost symbiotic in their 1027 00:57:15,520 --> 00:57:20,520 Speaker 2: ability to stealthily move around the city, kill people, and 1028 00:57:20,560 --> 00:57:24,560 Speaker 2: smuggle shit. They are survivors first and foremost, and at 1029 00:57:24,560 --> 00:57:27,200 Speaker 2: the moment they survive by relying on each other. But 1030 00:57:27,240 --> 00:57:30,200 Speaker 2: it is clear from the outset that that is not 1031 00:57:30,320 --> 00:57:34,560 Speaker 2: some kind of deep seated, trusting, loving relationship. That is 1032 00:57:34,600 --> 00:57:37,080 Speaker 2: the nature of the world that we live in. They 1033 00:57:37,120 --> 00:57:40,960 Speaker 2: have to survive, and at the moment they are useful 1034 00:57:40,960 --> 00:57:41,960 Speaker 2: to each other to do that. 1035 00:57:44,600 --> 00:57:50,840 Speaker 1: Tess enters. She's got a big new black eye, and 1036 00:57:51,040 --> 00:57:55,560 Speaker 1: she's yelling about some kind of smuggling meet up that 1037 00:57:55,680 --> 00:57:58,200 Speaker 1: Joel missed. Joel Joel kind of like fucked her on 1038 00:57:58,240 --> 00:58:01,080 Speaker 1: this deal. It had to do with pills, ration cards, 1039 00:58:01,440 --> 00:58:03,800 Speaker 1: whatever it was. Test took care of it. But on 1040 00:58:03,840 --> 00:58:06,880 Speaker 1: the way back from the deal, she got jumped by 1041 00:58:06,920 --> 00:58:10,320 Speaker 1: four dudes who she doesn't say, but who we can 1042 00:58:10,360 --> 00:58:18,520 Speaker 1: guess are now dead them because Tess, we'll say it 1043 00:58:18,520 --> 00:58:21,440 Speaker 1: now for the first time, is a psychotic murderer. 1044 00:58:21,480 --> 00:58:24,800 Speaker 2: She is a mass murderer, and she will take you 1045 00:58:24,880 --> 00:58:27,360 Speaker 2: on a journey. Every point she's like, let's go do 1046 00:58:27,440 --> 00:58:29,760 Speaker 2: this thing, and it really turns out that you are 1047 00:58:29,800 --> 00:58:31,440 Speaker 2: gonna have to mass murder a lot of people to 1048 00:58:31,440 --> 00:58:33,479 Speaker 2: do it. Maybe that's just the nature of the world, 1049 00:58:33,640 --> 00:58:37,080 Speaker 2: but Tess has a tendency towards being as she will. 1050 00:58:37,480 --> 00:58:41,320 Speaker 1: Yeah, yeah, she if if the thing that she wants 1051 00:58:42,560 --> 00:58:44,720 Speaker 1: is on the other side of a lot of people, 1052 00:58:45,400 --> 00:58:48,960 Speaker 1: Tests will take the path that takes her through the people. Yeah, 1053 00:58:48,960 --> 00:58:50,200 Speaker 1: because that's just who Tests is. 1054 00:58:50,240 --> 00:58:53,040 Speaker 2: And that is something very interesting that the game does 1055 00:58:53,080 --> 00:58:56,120 Speaker 2: that I have begun to see on my replay because 1056 00:58:56,160 --> 00:58:58,800 Speaker 2: I'm coming at from this more critical perspective. I'm not 1057 00:58:58,880 --> 00:59:01,000 Speaker 2: just like high playing it and I'm like a teenager 1058 00:59:01,120 --> 00:59:04,640 Speaker 2: or whatever, you know, But like, the game sets you 1059 00:59:04,880 --> 00:59:12,680 Speaker 2: up on multiple missions where if you go Tests Root 1060 00:59:12,840 --> 00:59:14,560 Speaker 2: and you try and kill a bunch of people, when 1061 00:59:14,600 --> 00:59:17,880 Speaker 2: you get further in, you will never survive. But if 1062 00:59:17,880 --> 00:59:21,400 Speaker 2: you can stealthily get around and avoid killing people, you 1063 00:59:21,440 --> 00:59:24,240 Speaker 2: can get through it really easily. And it establishes and 1064 00:59:24,520 --> 00:59:26,520 Speaker 2: there are ways to get through with combat. You can 1065 00:59:26,560 --> 00:59:28,560 Speaker 2: be the badass, you can hit, you can pick, you 1066 00:59:28,600 --> 00:59:31,160 Speaker 2: can pick those things just really hard. But it's really hard. 1067 00:59:31,480 --> 00:59:35,560 Speaker 2: And I love that they kind of establish the rules 1068 00:59:35,560 --> 00:59:37,080 Speaker 2: of what you think the game are, Oh, you kill 1069 00:59:37,080 --> 00:59:39,000 Speaker 2: people because they're in our way and we need their things. 1070 00:59:39,160 --> 00:59:41,000 Speaker 2: But then they're like, oh, but actually, if you want 1071 00:59:41,000 --> 00:59:44,080 Speaker 2: to try not to kill people, maybe that will be easier. 1072 00:59:44,160 --> 00:59:47,880 Speaker 2: Sometimes it's it's very interesting but yeah, they're after Robert, 1073 00:59:47,920 --> 00:59:49,880 Speaker 2: and that's going to go badly for Robert. 1074 00:59:50,720 --> 00:59:54,640 Speaker 1: Yeah, so Robert. These dudes were that Tests probably killed, 1075 00:59:55,360 --> 00:59:59,440 Speaker 1: were sent by Robert, who is a former like smuggling 1076 00:59:59,520 --> 01:00:02,360 Speaker 1: partner in smuggling, maybe like a person they have dyne 1077 01:00:03,320 --> 01:00:09,280 Speaker 1: like an ally, and apparently Robert double crossed them on 1078 01:00:09,360 --> 01:00:12,320 Speaker 1: a deal for a bunch of guns, and Test wants 1079 01:00:12,320 --> 01:00:14,760 Speaker 1: the guns back and guess what she knows where Robert is. 1080 01:00:14,800 --> 01:00:17,560 Speaker 1: He's in a warehouse an area five. So she's like, 1081 01:00:17,600 --> 01:00:19,880 Speaker 1: you want to come fuck Robert up with me? And 1082 01:00:19,960 --> 01:00:22,960 Speaker 1: Joel's like, yeah, let's go on the way. We had 1083 01:00:23,040 --> 01:00:27,040 Speaker 1: some some of this again wonderfully delivered exposition where Tests 1084 01:00:27,160 --> 01:00:30,120 Speaker 1: is telling us that seems like more people from the 1085 01:00:30,160 --> 01:00:34,720 Speaker 1: quarantine zone have been getting infected by the cordyceps. Joel, 1086 01:00:34,960 --> 01:00:37,880 Speaker 1: I think rightly suggests that this is because people have 1087 01:00:37,880 --> 01:00:40,880 Speaker 1: been bringing quarantine people like Joel Adess have been sneaking out, 1088 01:00:40,920 --> 01:00:44,480 Speaker 1: probably to get stuff. It is suggested, though never really 1089 01:00:44,920 --> 01:00:48,720 Speaker 1: laid out in any kind of detailed way, that that 1090 01:00:48,960 --> 01:00:54,760 Speaker 1: the quarantine zone authorities are like it's like a dictatorship, 1091 01:00:54,800 --> 01:01:00,160 Speaker 1: Like it's atalitarian dictatorship. There's it's hard to understand like 1092 01:01:00,200 --> 01:01:02,480 Speaker 1: what shape that takes. Certainly because like Test and Joel 1093 01:01:02,520 --> 01:01:05,680 Speaker 1: have no problems walking around and it seems like they 1094 01:01:05,680 --> 01:01:08,240 Speaker 1: have no problems getting fake IDs to move through checkpoints. 1095 01:01:08,520 --> 01:01:12,040 Speaker 1: But you know, whatever shape that takes, life in the 1096 01:01:12,160 --> 01:01:17,000 Speaker 1: quarantine zone leaves people wanting, and certainly it drives people 1097 01:01:17,040 --> 01:01:21,000 Speaker 1: like Jol and Tests to you know, go outside the 1098 01:01:21,120 --> 01:01:25,760 Speaker 1: law in order to you know, get stuff, which leads 1099 01:01:25,800 --> 01:01:28,320 Speaker 1: me to think of, oh, I forget the name of 1100 01:01:28,360 --> 01:01:33,360 Speaker 1: the guy. He like is one of the philosophers who's 1101 01:01:33,760 --> 01:01:38,800 Speaker 1: responsible for the postmodernist of philosophy, but he said something 1102 01:01:38,920 --> 01:01:43,440 Speaker 1: like it's much easier to imagine the end of the 1103 01:01:43,440 --> 01:01:47,000 Speaker 1: world than it is to imagine the end of capitalism. 1104 01:01:47,400 --> 01:01:51,840 Speaker 1: And that is on display here because obviously testan Joel 1105 01:01:51,880 --> 01:01:54,640 Speaker 1: are out here looking for ration cards, which are today's currency. 1106 01:01:54,760 --> 01:01:57,680 Speaker 2: I think that's a really great point because again when 1107 01:01:57,680 --> 01:02:00,280 Speaker 2: we talk about the exposition, and also this is game 1108 01:02:00,280 --> 01:02:02,280 Speaker 2: that is very focused on character, there's a lot of 1109 01:02:02,280 --> 01:02:04,440 Speaker 2: great world building visually because of a video game, and 1110 01:02:04,480 --> 01:02:07,440 Speaker 2: it has an unbelievable amount of like you said, artisan's 1111 01:02:07,480 --> 01:02:09,600 Speaker 2: animat as people working on it, but a lot of 1112 01:02:09,640 --> 01:02:11,960 Speaker 2: the stuff that we come to glean about the world 1113 01:02:12,000 --> 01:02:15,400 Speaker 2: in general, is much more of that what is going 1114 01:02:15,440 --> 01:02:18,160 Speaker 2: on and that idea that there are definitely most of 1115 01:02:18,200 --> 01:02:24,000 Speaker 2: the economy within the zone of the quarantine area is 1116 01:02:25,080 --> 01:02:28,880 Speaker 2: a smuggling, bartering kind of culture which very much heavily 1117 01:02:28,960 --> 01:02:34,320 Speaker 2: leans into capitalism. And we get into those moments later on, 1118 01:02:34,480 --> 01:02:37,920 Speaker 2: especially and kind of just when we start to explore 1119 01:02:37,960 --> 01:02:42,840 Speaker 2: where there's these kind of brutal curfews and if you 1120 01:02:42,880 --> 01:02:44,840 Speaker 2: don't follow the curfew you're getting shot. So there's like 1121 01:02:44,880 --> 01:02:48,320 Speaker 2: we don't know at this point, like who is in charge? 1122 01:02:48,360 --> 01:02:50,320 Speaker 2: Why is this happening? But we it's not a good 1123 01:02:50,320 --> 01:02:51,200 Speaker 2: time to be alive. 1124 01:02:51,880 --> 01:02:55,200 Speaker 1: Nine a great time. Tess and Joel on their way 1125 01:02:55,240 --> 01:02:58,680 Speaker 1: to Robert try to go through a certain checkpoint, but 1126 01:02:58,960 --> 01:03:01,280 Speaker 1: on their way through the check point, the checkpoint gets 1127 01:03:01,360 --> 01:03:05,640 Speaker 1: hit by the Fireflies, who we have learned through the 1128 01:03:05,760 --> 01:03:12,560 Speaker 1: exposition dump during the credits are a extremist militia group 1129 01:03:12,960 --> 01:03:16,400 Speaker 1: who are dedicated to finding a cure for all this. 1130 01:03:16,720 --> 01:03:20,840 Speaker 1: Like they the suggestion and again not really laid out, 1131 01:03:21,160 --> 01:03:24,920 Speaker 1: but the suggestion is by their very existence is that 1132 01:03:24,920 --> 01:03:29,360 Speaker 1: the zone authorities are complacent, are happy enough to be 1133 01:03:29,640 --> 01:03:34,600 Speaker 1: ruling this little rump of civilization that's left over, whereas 1134 01:03:34,640 --> 01:03:40,959 Speaker 1: the Fireflies, you know, this ragtag collection of armed scientists 1135 01:03:41,000 --> 01:03:43,800 Speaker 1: and everyday people who just want to return to the 1136 01:03:43,800 --> 01:03:47,680 Speaker 1: world as it was, are actually interested in doing something 1137 01:03:47,720 --> 01:03:51,960 Speaker 1: in order to cure this fungus, to to stamp it out. 1138 01:03:51,960 --> 01:03:54,800 Speaker 1: So they've just attacked and Joel and Tests end up 1139 01:03:54,800 --> 01:03:59,280 Speaker 1: having to go a different way. They go through, you know, 1140 01:03:59,320 --> 01:04:03,880 Speaker 1: a building that is part of the smuggling network. We're 1141 01:04:03,920 --> 01:04:07,600 Speaker 1: looking for Robert here. Now we start to arm and 1142 01:04:07,640 --> 01:04:12,120 Speaker 1: you start to pick up the stuff that Joel and 1143 01:04:13,000 --> 01:04:16,080 Speaker 1: later on Ellie you're going to use in order to 1144 01:04:16,560 --> 01:04:18,880 Speaker 1: you know, navigate through this world. And for Joel right 1145 01:04:18,880 --> 01:04:20,760 Speaker 1: now and for the player right now, that's just a 1146 01:04:20,800 --> 01:04:24,840 Speaker 1: knapsack to hold scavenged items and a nine millimeters pistol. 1147 01:04:26,400 --> 01:04:29,160 Speaker 1: Eventually we end up outside the quarantine zone, where it 1148 01:04:29,240 --> 01:04:33,120 Speaker 1: is gorgeous. It's calls to mind Chernoyl. Yeah, you know 1149 01:04:33,200 --> 01:04:37,760 Speaker 1: this place where something horrendous has happened that has driven 1150 01:04:37,840 --> 01:04:42,120 Speaker 1: humanity away, but nature has reclaimed it. It's like beautiful greenery, 1151 01:04:42,720 --> 01:04:44,120 Speaker 1: destroyed buildings. 1152 01:04:44,480 --> 01:04:46,480 Speaker 2: It's my favorite thing about this game, and it's my 1153 01:04:46,560 --> 01:04:51,000 Speaker 2: favorite thing about the choices that they made to differentiate 1154 01:04:51,000 --> 01:04:54,000 Speaker 2: it from what we've seen before. It also fits in 1155 01:04:54,040 --> 01:04:55,600 Speaker 2: with the nature of what you were talking about, this 1156 01:04:55,640 --> 01:04:59,040 Speaker 2: idea of extinction and how the world continues on and 1157 01:04:59,160 --> 01:05:01,480 Speaker 2: life continues as you know, life will find a way 1158 01:05:02,040 --> 01:05:05,120 Speaker 2: all that kind of stuff. Because yeah, it's this horrific 1159 01:05:05,160 --> 01:05:07,840 Speaker 2: quarantine zone and the cops are there and the army 1160 01:05:07,960 --> 01:05:10,240 Speaker 2: is there, and you can't go through without your ideas, 1161 01:05:10,560 --> 01:05:14,440 Speaker 2: and they're basically keeping people prisoner in this space, but 1162 01:05:15,240 --> 01:05:17,760 Speaker 2: they can't stop the plants from going, they can't stop 1163 01:05:17,800 --> 01:05:21,600 Speaker 2: the ponds from bubbling up. That it's so beautiful and 1164 01:05:21,640 --> 01:05:27,000 Speaker 2: it is just such a nice change from the dark, 1165 01:05:28,760 --> 01:05:31,960 Speaker 2: darkly lit kind of tombs that we're used to in 1166 01:05:32,320 --> 01:05:34,760 Speaker 2: horror video games, and this does have some of that, 1167 01:05:34,840 --> 01:05:39,240 Speaker 2: like there is a lot of spoof and you've got 1168 01:05:39,320 --> 01:05:42,000 Speaker 2: and you've got a flashlight, and you're scenees of cool shit. 1169 01:05:42,160 --> 01:05:46,560 Speaker 2: But it these moments of beauty and these flashes they 1170 01:05:46,600 --> 01:05:49,520 Speaker 2: will as you play through the game and as we 1171 01:05:49,600 --> 01:05:52,200 Speaker 2: go to talk about it in future episodes, they lead 1172 01:05:52,240 --> 01:05:54,960 Speaker 2: to some of the most kind of emotionally stunning moments 1173 01:05:55,560 --> 01:05:58,240 Speaker 2: in the game. And I love this choice and it 1174 01:05:58,400 --> 01:06:01,080 Speaker 2: makes me, It just makes me really happy. And the 1175 01:06:01,120 --> 01:06:05,280 Speaker 2: remastered version is even more beautiful than beautiful. 1176 01:06:05,600 --> 01:06:09,640 Speaker 1: Yeah, it's beautiful. In one of these ruined buildings, we 1177 01:06:09,720 --> 01:06:13,360 Speaker 1: encounter the spores for the first time. Tests and Joel 1178 01:06:13,560 --> 01:06:16,160 Speaker 1: have gas masks which they put on in order to 1179 01:06:16,240 --> 01:06:20,520 Speaker 1: avoid being infected by these spores. I guess it doesn't 1180 01:06:20,520 --> 01:06:23,080 Speaker 1: matter if you get them on your clothes and stuff later, 1181 01:06:23,280 --> 01:06:25,000 Speaker 1: like I you know, like as long as you don't 1182 01:06:25,000 --> 01:06:28,560 Speaker 1: breathe them in. I'm not gonna question Joel. And they've 1183 01:06:28,560 --> 01:06:30,080 Speaker 1: been doing this a long time and they know what 1184 01:06:30,120 --> 01:06:34,439 Speaker 1: they're doing, okay, And if you'll fucked as we find out. Fuck, 1185 01:06:34,600 --> 01:06:37,360 Speaker 1: it'd be interesting to see, you know, when the show airs, 1186 01:06:38,840 --> 01:06:42,120 Speaker 1: how sciencey they make, because clearly, I think if you 1187 01:06:42,120 --> 01:06:44,040 Speaker 1: get the fungus, if you get the cordyceps on your 1188 01:06:44,080 --> 01:06:47,600 Speaker 1: fucking shirt and then you touch your shirt, you're gonna 1189 01:06:47,600 --> 01:06:49,400 Speaker 1: have to take it. Yeah, You're gonna have to like 1190 01:06:49,440 --> 01:06:53,880 Speaker 1: decontaminate anyway. So we encounter the spores and you see 1191 01:06:53,880 --> 01:06:56,040 Speaker 1: the source of the spores, which is like this person 1192 01:06:56,880 --> 01:07:01,360 Speaker 1: who has been you know, uh it suffer an advanced infection. 1193 01:07:01,960 --> 01:07:05,400 Speaker 1: It's his body seems almost like torn open by the 1194 01:07:05,480 --> 01:07:09,680 Speaker 1: spores with these like tentacle like things coming off of them. 1195 01:07:09,720 --> 01:07:13,480 Speaker 1: It's almost like a melding of plant and person in 1196 01:07:13,520 --> 01:07:17,120 Speaker 1: this kind of like body horror kind of way, very 1197 01:07:17,160 --> 01:07:18,040 Speaker 1: body horror. 1198 01:07:17,840 --> 01:07:20,200 Speaker 2: And they're sort of like it almost looks like fingers 1199 01:07:20,240 --> 01:07:22,600 Speaker 2: are growing out of random parts of the bodies, which 1200 01:07:22,600 --> 01:07:25,840 Speaker 2: I'm assuming are kind of these cordyceps like mushroom fungal 1201 01:07:25,920 --> 01:07:29,120 Speaker 2: kind of situations. It's really creepy, and in those moments 1202 01:07:29,120 --> 01:07:33,960 Speaker 2: you really invoke that resident evil kind of dead space, like, oh, 1203 01:07:34,040 --> 01:07:36,600 Speaker 2: what's coming around the corner. But it's very funny because 1204 01:07:36,760 --> 01:07:39,520 Speaker 2: they don't. They let you have it, they let you fight, 1205 01:07:40,400 --> 01:07:42,800 Speaker 2: they give you a taste, but really you're here to 1206 01:07:42,800 --> 01:07:45,919 Speaker 2: get Robert, and that means killing humans. That means that's 1207 01:07:46,360 --> 01:07:48,240 Speaker 2: that's the bleakness of what you have to do to 1208 01:07:48,240 --> 01:07:50,680 Speaker 2: survive and to get to the part of the story 1209 01:07:50,680 --> 01:07:52,080 Speaker 2: that is so important. 1210 01:07:52,320 --> 01:07:55,760 Speaker 1: Well you get to do that. Shortly after seeing the 1211 01:07:55,800 --> 01:07:58,280 Speaker 1: source of the spores in this building. You find it, 1212 01:07:58,640 --> 01:08:01,720 Speaker 1: you know, some other scavenger who is out here, a 1213 01:08:01,880 --> 01:08:05,040 Speaker 1: very very heavy apparently like a file cabinet and piece 1214 01:08:05,040 --> 01:08:07,000 Speaker 1: of the wall I think has fallen on this person 1215 01:08:07,040 --> 01:08:11,200 Speaker 1: and now they are infected and they beg Joel and 1216 01:08:11,320 --> 01:08:13,680 Speaker 1: Test to just put him out of his misery. Just 1217 01:08:13,720 --> 01:08:16,200 Speaker 1: do it. And now you are given the choice. You 1218 01:08:16,280 --> 01:08:20,080 Speaker 1: are Joel, and you can either kill him or leave him. 1219 01:08:20,640 --> 01:08:22,000 Speaker 1: I don't know about you, but I put him out 1220 01:08:22,000 --> 01:08:25,439 Speaker 1: of his again, yeah, because like you know, it's not 1221 01:08:26,720 --> 01:08:29,280 Speaker 1: the other way. It's a terrible choice, but the other 1222 01:08:29,320 --> 01:08:32,439 Speaker 1: way is worse. And this gives you again of the 1223 01:08:32,479 --> 01:08:35,280 Speaker 1: taste of the kind of moral bleakness that you're going 1224 01:08:35,360 --> 01:08:41,320 Speaker 1: to be faced with as Joel. But Test is going 1225 01:08:41,400 --> 01:08:44,679 Speaker 1: to be faced with a similar choice later. And unlike Joel, 1226 01:08:45,000 --> 01:08:48,840 Speaker 1: who is us, she has no hesitation and does not 1227 01:08:48,880 --> 01:08:51,439 Speaker 1: think about it at all. She just does the kill 1228 01:08:51,520 --> 01:08:54,760 Speaker 1: him thing. Eventually, Tests and Joel arrive at like some 1229 01:08:55,080 --> 01:08:59,320 Speaker 1: squalid camp, you know, bird into these like narrow city streets, 1230 01:08:59,600 --> 01:09:03,280 Speaker 1: and it is fucking bleak there. There's like there's like 1231 01:09:03,479 --> 01:09:06,120 Speaker 1: bare knuckle fighting. 1232 01:09:06,200 --> 01:09:08,040 Speaker 2: People are trying to fight you, like if you get 1233 01:09:08,040 --> 01:09:10,519 Speaker 2: too close to people that are gonna push you. Nobody 1234 01:09:10,560 --> 01:09:13,519 Speaker 2: knows Joel, nobody has but they know Tests. 1235 01:09:13,920 --> 01:09:16,639 Speaker 1: Yeah. They Test has a lot of respect here. 1236 01:09:17,600 --> 01:09:22,320 Speaker 2: Maybe all makes boyfriends too. She calls some of them 1237 01:09:22,320 --> 01:09:25,040 Speaker 2: like an ex headache and on my own. Yeah. 1238 01:09:25,240 --> 01:09:28,439 Speaker 1: So as we move through here, Test kind of gets 1239 01:09:28,960 --> 01:09:32,800 Speaker 1: gets a further pinpoint on where Robert is going to be. 1240 01:09:33,240 --> 01:09:36,400 Speaker 1: They move around the corner. Test bribes a local with 1241 01:09:36,520 --> 01:09:40,120 Speaker 1: some ration cards to get that pinpoint, a location for Robert, 1242 01:09:40,160 --> 01:09:42,000 Speaker 1: and just as we head off around the corner, here 1243 01:09:42,040 --> 01:09:48,759 Speaker 1: come three dudes, Robert's good muscle, apparently Robert. Whatever Robert 1244 01:09:48,800 --> 01:09:52,080 Speaker 1: is doing out here in the in the wasteland, he 1245 01:09:52,280 --> 01:09:56,880 Speaker 1: is managing to accrue power. People are following him and 1246 01:09:56,920 --> 01:09:59,479 Speaker 1: you see that in this moment, and they're like, you 1247 01:09:59,520 --> 01:10:02,639 Speaker 1: can't go any further, YadA, YadA, YadA, what do you want? 1248 01:10:02,720 --> 01:10:05,240 Speaker 1: Test is like, oh really, and just shoots the first guy. Yeah, 1249 01:10:05,320 --> 01:10:08,920 Speaker 1: flat out, just like cold blooded executes the first guy. 1250 01:10:09,000 --> 01:10:11,639 Speaker 1: And now you get your first taste of real combat 1251 01:10:11,640 --> 01:10:12,160 Speaker 1: in this game. 1252 01:10:12,200 --> 01:10:14,080 Speaker 2: You are in trouble because now you have to be 1253 01:10:14,080 --> 01:10:16,000 Speaker 2: shooting some people because these men. 1254 01:10:16,040 --> 01:10:18,680 Speaker 1: And this is and this is like the kind you've 1255 01:10:18,720 --> 01:10:22,120 Speaker 1: got and you've got like nine bullets. Yeah. So Joel 1256 01:10:22,160 --> 01:10:25,000 Speaker 1: and Test work together to take care of the other two, 1257 01:10:26,040 --> 01:10:31,400 Speaker 1: and then as you move past this, you encounter the 1258 01:10:31,439 --> 01:10:34,160 Speaker 1: rest of Robert's men. They apparently didn't hear what just 1259 01:10:34,240 --> 01:10:37,080 Speaker 1: happened some ways away to their compatriots and they're just 1260 01:10:37,120 --> 01:10:39,639 Speaker 1: kind of walking around and you have to sneak past them, 1261 01:10:39,680 --> 01:10:42,160 Speaker 1: maybe choke them out, if you want to bash them 1262 01:10:42,160 --> 01:10:44,200 Speaker 1: over the head, whatever the case might be. But as 1263 01:10:44,240 --> 01:10:47,720 Speaker 1: you're moving through this world again with this great exposition, 1264 01:10:47,760 --> 01:10:51,400 Speaker 1: you're getting these little you're overhearing, these little snippets of 1265 01:10:51,479 --> 01:10:57,719 Speaker 1: conversation that paint you know what the world is. You hear, 1266 01:10:57,880 --> 01:11:05,880 Speaker 1: for instance, one of Robert's people talking about the fireflies, Yeah, 1267 01:11:05,920 --> 01:11:10,040 Speaker 1: and how they're seem to be gathering people to them 1268 01:11:10,160 --> 01:11:12,479 Speaker 1: as well, just in the same way that that Robert 1269 01:11:12,520 --> 01:11:15,320 Speaker 1: are doing. And as you move through this world, the 1270 01:11:15,360 --> 01:11:17,880 Speaker 1: only thing that you are struck by is one how 1271 01:11:17,960 --> 01:11:20,920 Speaker 1: dangerous and how exposed you feel all the time. And 1272 01:11:21,240 --> 01:11:24,439 Speaker 1: the second is Tess is a fucking psycho. Yeah, she 1273 01:11:24,680 --> 01:11:26,280 Speaker 1: is a cycle. 1274 01:11:26,520 --> 01:11:30,640 Speaker 2: She is she is past the place of being a 1275 01:11:30,680 --> 01:11:34,400 Speaker 2: broken survivor. She is forever changed. There is no going 1276 01:11:34,439 --> 01:11:34,600 Speaker 2: back to. 1277 01:11:34,840 --> 01:11:36,760 Speaker 1: Whatever happened to her is that she. 1278 01:11:36,840 --> 01:11:40,840 Speaker 2: Will kill anyone that is her first, you are given 1279 01:11:40,880 --> 01:11:43,439 Speaker 2: the choice. This is when you start to learn how 1280 01:11:43,479 --> 01:11:48,000 Speaker 2: to be stealthy. How to they say, strangle someone? You 1281 01:11:48,000 --> 01:11:49,800 Speaker 2: can say, maybe you're just choking them out till they 1282 01:11:49,880 --> 01:11:53,240 Speaker 2: go unconscious. I believe you're probably killing them, but and 1283 01:11:53,360 --> 01:11:55,880 Speaker 2: you start, you can you can pick up bottles that 1284 01:11:55,920 --> 01:11:58,360 Speaker 2: you can throw to distract people. You can kill people 1285 01:11:58,400 --> 01:12:00,559 Speaker 2: with bricks. You can there's that you can get. You 1286 01:12:00,560 --> 01:12:03,160 Speaker 2: get a ship at this point, which is very dramatic, right, 1287 01:12:03,920 --> 01:12:07,880 Speaker 2: but Test will always shoot fast, not both to ask 1288 01:12:08,000 --> 01:12:08,639 Speaker 2: questions later. 1289 01:12:09,080 --> 01:12:14,240 Speaker 1: She's been through it. Yes, Finally we get moving through this, uh, 1290 01:12:14,600 --> 01:12:18,479 Speaker 1: this thicket of enemies. We get eyes on Robert, that 1291 01:12:18,680 --> 01:12:22,280 Speaker 1: cocky son of a bitch, Test says. And then after 1292 01:12:22,400 --> 01:12:27,040 Speaker 1: several other like about three other very very bloody fights, 1293 01:12:27,439 --> 01:12:30,679 Speaker 1: and then a squirrely footchase through the alley, we corner Robert. 1294 01:12:31,120 --> 01:12:34,960 Speaker 1: Guns are gone, he says, they're gone. He sold them 1295 01:12:34,960 --> 01:12:37,160 Speaker 1: to the fireflies. Test is like, yeah, well I want 1296 01:12:37,240 --> 01:12:41,639 Speaker 1: him back, and Robert's like Robert now again this excellent 1297 01:12:41,720 --> 01:12:47,080 Speaker 1: voice acting. Robert realizes that because he's of no value 1298 01:12:47,400 --> 01:12:51,639 Speaker 1: anymore to Tests, he doesn't have the guns, he's probably 1299 01:12:51,640 --> 01:12:52,559 Speaker 1: gonna fucking die. 1300 01:12:52,640 --> 01:12:55,559 Speaker 2: He knows it's gonna happen. 1301 01:12:56,160 --> 01:12:59,160 Speaker 1: It's gonna happen. Right now. He's gone from this guy 1302 01:12:59,200 --> 01:13:02,879 Speaker 1: who is like a udding warlord, you know, like gathering strength, 1303 01:13:02,920 --> 01:13:07,000 Speaker 1: to about to get fucking done on the ground in 1304 01:13:07,040 --> 01:13:10,800 Speaker 1: an alley, and so he's desperately begging for his life 1305 01:13:10,800 --> 01:13:14,120 Speaker 1: by basically pitching like this crazy adventure. Hey, here's what 1306 01:13:14,160 --> 01:13:17,720 Speaker 1: we do. You know us three. I'll get you in 1307 01:13:17,720 --> 01:13:19,800 Speaker 1: to meet the fireflies and you kill him and then 1308 01:13:19,840 --> 01:13:21,559 Speaker 1: you take the guns back and we're good, right, And 1309 01:13:21,600 --> 01:13:23,719 Speaker 1: then Test is like no, and she just fucking shoots 1310 01:13:23,760 --> 01:13:26,679 Speaker 1: him in the head. He's done, uh tests, and Joel 1311 01:13:27,560 --> 01:13:30,960 Speaker 1: really more tests. But Joel's Joe Joel for the ride. 1312 01:13:31,200 --> 01:13:33,640 Speaker 1: Joel's along for the ride. Now this is interesting. So 1313 01:13:33,680 --> 01:13:36,240 Speaker 1: Test is like, I still want the guns, and Joel 1314 01:13:36,280 --> 01:13:40,719 Speaker 1: goes along with it. My read on this is Joel 1315 01:13:40,800 --> 01:13:43,360 Speaker 1: died twenty years ago and he doesn't care if he dies. Now. 1316 01:13:44,080 --> 01:13:45,160 Speaker 1: I think it's dangerous. 1317 01:13:45,360 --> 01:13:47,799 Speaker 2: I think every day for Joel, every day for Joel 1318 01:13:48,000 --> 01:13:51,479 Speaker 2: is the worst day of his life. Yeah, but he's 1319 01:13:51,520 --> 01:13:54,320 Speaker 2: also absolutely numb to it. I think it's very interesting 1320 01:13:54,360 --> 01:13:56,799 Speaker 2: how they have him missed that drap because it opens 1321 01:13:56,880 --> 01:13:58,880 Speaker 2: up so many questions the first time you play what 1322 01:13:58,920 --> 01:14:03,439 Speaker 2: we liked? Yeah, well, like, was this especially bad dave him? 1323 01:14:03,560 --> 01:14:06,760 Speaker 2: Was this an anniversary? Was he just wasted? Like? Was 1324 01:14:06,800 --> 01:14:09,000 Speaker 2: he so out of it? And he doesn't care? 1325 01:14:09,360 --> 01:14:10,439 Speaker 1: And I think he doesn't care. 1326 01:14:10,560 --> 01:14:13,080 Speaker 2: It's every day. Is like, if this is the lost day, 1327 01:14:13,120 --> 01:14:14,400 Speaker 2: then fine. 1328 01:14:14,960 --> 01:14:17,240 Speaker 1: Fine, okay, you want to do some crazy shit. We're 1329 01:14:17,240 --> 01:14:20,000 Speaker 1: going to take on the fireflies we just saw launch 1330 01:14:20,040 --> 01:14:24,439 Speaker 1: a devastating attack on like armed soldiers in the zone. Yeah. Sure, 1331 01:14:24,560 --> 01:14:29,880 Speaker 1: like yeah. So, as they're discussing having to meet up 1332 01:14:29,920 --> 01:14:34,559 Speaker 1: with the fireflies some way, somehow, you know, in a 1333 01:14:34,720 --> 01:14:39,840 Speaker 1: wonderful stroke of luck, the firefly leader in the quarantine zone, Marlene, 1334 01:14:39,880 --> 01:14:41,960 Speaker 1: who has been wounded in one of the fights that 1335 01:14:42,520 --> 01:14:45,680 Speaker 1: took place, you know, a couple of minutes ago, uh 1336 01:14:46,120 --> 01:14:49,599 Speaker 1: staggers up and she says, I can get you your 1337 01:14:49,600 --> 01:14:52,200 Speaker 1: guns back, but you have to do a job for me. 1338 01:14:52,400 --> 01:14:55,360 Speaker 1: And Tessa's like, okay, you know how many ration cars 1339 01:14:55,439 --> 01:14:57,960 Speaker 1: you need? What do you need moved? And she's like no, no, no, no, 1340 01:14:58,200 --> 01:15:02,479 Speaker 1: a smuggling job. Mar He needs them apparently, tests and Joel, 1341 01:15:02,560 --> 01:15:06,400 Speaker 1: because one, all the people they were going to use 1342 01:15:06,640 --> 01:15:10,559 Speaker 1: they just killed. And two, despite the fact that the 1343 01:15:10,600 --> 01:15:16,080 Speaker 1: fireflies look pretty punchy in that recent attack on the checkpoint, 1344 01:15:16,560 --> 01:15:20,240 Speaker 1: they're getting ground down. At least in the quarantineszone. The 1345 01:15:20,240 --> 01:15:24,000 Speaker 1: fireflies are you know, almost used up. She says that 1346 01:15:24,040 --> 01:15:29,120 Speaker 1: the zone authorities apparently needing a scapegoat for how shitty 1347 01:15:29,320 --> 01:15:30,880 Speaker 1: things are in the zone, Like they just want to 1348 01:15:30,920 --> 01:15:33,120 Speaker 1: take people's mind off of how shitty things are in 1349 01:15:33,160 --> 01:15:36,519 Speaker 1: the zone. And therefore they launched this attack on the 1350 01:15:36,560 --> 01:15:39,519 Speaker 1: Fireflies to just kind of like have an enemy that's 1351 01:15:39,600 --> 01:15:42,160 Speaker 1: out there that they can the people can blame things on. 1352 01:15:42,960 --> 01:15:45,919 Speaker 1: They initiated the hostilities against the fireflies, and the Fireflies 1353 01:15:45,920 --> 01:15:47,600 Speaker 1: are on the losing end of this. We're trying to 1354 01:15:47,640 --> 01:15:53,479 Speaker 1: defend ourselves, Marlene says. So now it's Joel, Marlene and 1355 01:15:53,560 --> 01:15:57,639 Speaker 1: psychotests sneaking their way past very very heavily armed soldiers. 1356 01:15:57,640 --> 01:16:00,639 Speaker 1: And again that you're getting this. The game is introducing 1357 01:16:00,640 --> 01:16:03,320 Speaker 1: you to the various enemies in a really, really wonderful 1358 01:16:03,360 --> 01:16:08,639 Speaker 1: fashion to get to the firefight holdout base. Marlene is gutshot, 1359 01:16:08,680 --> 01:16:11,200 Speaker 1: she's barely on her feet, and she leads them and 1360 01:16:11,320 --> 01:16:14,479 Speaker 1: tests to it looks like a schoolroom or what do 1361 01:16:14,479 --> 01:16:16,880 Speaker 1: you think? Yeah, I'm not sure what this is. 1362 01:16:16,920 --> 01:16:20,040 Speaker 2: It's very unusual. And the fact that she needs Joel 1363 01:16:20,120 --> 01:16:22,120 Speaker 2: to help her open the door, not just to help us, 1364 01:16:22,160 --> 01:16:24,680 Speaker 2: you know, test that we can open a door with 1365 01:16:24,680 --> 01:16:26,880 Speaker 2: a triangle. It's a very heavy door. I wonder if 1366 01:16:26,920 --> 01:16:29,960 Speaker 2: it's some kind of locker or cooler or it's something, 1367 01:16:30,000 --> 01:16:32,000 Speaker 2: but but it does look like at one point there 1368 01:16:32,080 --> 01:16:35,000 Speaker 2: was some kind of classroom or or base there that 1369 01:16:35,040 --> 01:16:39,280 Speaker 2: people we were teaching in. It's very interesting. And obviously 1370 01:16:39,280 --> 01:16:41,200 Speaker 2: this is like a huge moment because this is this 1371 01:16:41,240 --> 01:16:43,360 Speaker 2: is where we meet Ellie, right. 1372 01:16:43,160 --> 01:16:46,320 Speaker 1: So this is this is the cargo to be smuggled. 1373 01:16:46,320 --> 01:16:50,759 Speaker 1: We meet Ellie. She is behind this door. Ellie seeing 1374 01:16:51,760 --> 01:16:55,120 Speaker 1: that what a bad state Marlene is in, is concerned. 1375 01:16:55,160 --> 01:16:57,120 Speaker 1: She's like, oh my god, are you okay? And it's 1376 01:16:57,160 --> 01:17:01,760 Speaker 1: a jarring moment because it's the first time since Sarah. 1377 01:17:01,800 --> 01:17:04,400 Speaker 1: So I don't know, you know, your mileage may vary, 1378 01:17:04,439 --> 01:17:06,800 Speaker 1: but for me maybe like three hours of gameplay or 1379 01:17:06,800 --> 01:17:08,960 Speaker 1: something like that, three and a half hours. It's the 1380 01:17:08,960 --> 01:17:12,080 Speaker 1: first time in three and a half hours of gameplay 1381 01:17:12,120 --> 01:17:15,679 Speaker 1: that you've met a character who cares about someone else. Yeah, 1382 01:17:15,720 --> 01:17:19,360 Speaker 1: in a way that is not toxic, a person that 1383 01:17:19,479 --> 01:17:22,880 Speaker 1: is not related to them, just a person just showing 1384 01:17:23,000 --> 01:17:25,800 Speaker 1: kind of like care for a person who's hurt, not 1385 01:17:25,920 --> 01:17:28,559 Speaker 1: a thing that Joel or test traffic in at all. 1386 01:17:28,960 --> 01:17:30,920 Speaker 2: Yeah, And it's it's such a good moment as well, 1387 01:17:30,960 --> 01:17:34,720 Speaker 2: because like it's not. It doesn't. The moment that we 1388 01:17:34,760 --> 01:17:38,920 Speaker 2: meet Ellie is so well established because the first thing 1389 01:17:39,000 --> 01:17:41,519 Speaker 2: she does when she sees Marlene coming through the door, 1390 01:17:41,680 --> 01:17:44,439 Speaker 2: she like pulls out a knife and is like she's 1391 01:17:44,600 --> 01:17:46,599 Speaker 2: a Joel and Test She's like, get the fuck away 1392 01:17:46,640 --> 01:17:49,840 Speaker 2: from her, Like this isn't someone that she's even particularly 1393 01:17:49,880 --> 01:17:53,599 Speaker 2: that close to. But she sees someone's injured who she knows, 1394 01:17:53,680 --> 01:17:55,800 Speaker 2: and she sees two strangers, and she's ready to fight. 1395 01:17:56,080 --> 01:17:58,000 Speaker 2: But that doesn't take away any of her empathy or 1396 01:17:58,000 --> 01:18:01,519 Speaker 2: compassion for Marlene. She's just trying to protect that. It's 1397 01:18:01,560 --> 01:18:03,799 Speaker 2: the opposite of what we've seen from Test and Joel, 1398 01:18:04,240 --> 01:18:06,120 Speaker 2: and it's a It's a really great moment where you 1399 01:18:06,240 --> 01:18:09,160 Speaker 2: kind of get to learn so much about this kid, 1400 01:18:09,200 --> 01:18:11,559 Speaker 2: and it opens up this intriguing mystery of how would 1401 01:18:11,560 --> 01:18:14,040 Speaker 2: they know each other, why would the cargo be a 1402 01:18:14,080 --> 01:18:16,040 Speaker 2: little girl? What's going on. 1403 01:18:17,320 --> 01:18:19,560 Speaker 1: It's also a very interesting moment from the perspective of 1404 01:18:19,640 --> 01:18:24,599 Speaker 1: Joel considering like where this story goes. You, I guess, 1405 01:18:24,640 --> 01:18:27,400 Speaker 1: because you know, I'm so familiar with the game, and 1406 01:18:28,120 --> 01:18:31,960 Speaker 1: you know, I've recently played the last of US two 1407 01:18:32,400 --> 01:18:34,800 Speaker 1: sequel that had come out like like a year and 1408 01:18:34,840 --> 01:18:39,200 Speaker 1: a half ago or something. I kind of expected it 1409 01:18:39,240 --> 01:18:43,120 Speaker 1: to be more of a moment that lands, and they 1410 01:18:43,160 --> 01:18:45,000 Speaker 1: really just kind of throw it away. It's almost like 1411 01:18:45,080 --> 01:18:47,080 Speaker 1: a nothing Like. Ellie shows up and it's. 1412 01:18:46,920 --> 01:18:48,479 Speaker 2: Almost like no reaction to it. 1413 01:18:48,560 --> 01:18:51,360 Speaker 1: He's no reaction to it. He doesn't give a shit. 1414 01:18:52,160 --> 01:18:56,200 Speaker 1: He's completely dead inside. And Marlene is like, Okay, here's 1415 01:18:56,240 --> 01:18:59,040 Speaker 1: the job. You take Ellie to a group of fireflies 1416 01:18:59,080 --> 01:19:01,800 Speaker 1: that are waiting at the state house. State House is 1417 01:19:01,840 --> 01:19:04,000 Speaker 1: in back Bay. They're currently like in the north End, 1418 01:19:04,000 --> 01:19:07,479 Speaker 1: so like basically across the city. Uh. And Ellie's like what, 1419 01:19:08,760 --> 01:19:10,000 Speaker 1: I'm not going Who the fuck? 1420 01:19:10,040 --> 01:19:10,720 Speaker 2: Who is this guy? 1421 01:19:11,479 --> 01:19:12,280 Speaker 1: Yeah? What? What? 1422 01:19:12,720 --> 01:19:13,120 Speaker 3: Tests? 1423 01:19:13,160 --> 01:19:19,639 Speaker 1: Meanwhile, is not about to do jack fucking shit until 1424 01:19:19,680 --> 01:19:22,000 Speaker 1: she sees the guns. Do they exist? I thought you 1425 01:19:22,000 --> 01:19:24,280 Speaker 1: were taking me to see them. Where are they? And 1426 01:19:24,320 --> 01:19:25,920 Speaker 1: now they don't exist? And I have to do this 1427 01:19:25,960 --> 01:19:28,160 Speaker 1: thing and now you can't. So Marlene's like, yeah, I'll 1428 01:19:28,200 --> 01:19:31,400 Speaker 1: show you the guns tests there at the firefly base, 1429 01:19:32,280 --> 01:19:35,800 Speaker 1: but we can't all go there because it's too dangerous 1430 01:19:35,920 --> 01:19:38,639 Speaker 1: for Ellie to be on the streets. We will eventually 1431 01:19:38,640 --> 01:19:42,479 Speaker 1: find out why Ellie is so prized, but it's too 1432 01:19:42,560 --> 01:19:45,880 Speaker 1: dangerous a trip for her to make what we will go, 1433 01:19:46,160 --> 01:19:49,599 Speaker 1: You and I will go, and Joel you will stay 1434 01:19:49,600 --> 01:19:54,000 Speaker 1: with Ellie and watch over her. And Ellie's like and 1435 01:19:54,080 --> 01:19:56,760 Speaker 1: take her to the to the Fireflies. And Ellie's like 1436 01:19:58,320 --> 01:20:01,240 Speaker 1: that's crazy, Like she's I'm not. 1437 01:20:01,200 --> 01:20:02,439 Speaker 2: Going to How do you range job? 1438 01:20:03,000 --> 01:20:05,040 Speaker 1: How do you know these people? And then we find 1439 01:20:05,040 --> 01:20:09,160 Speaker 1: out how Tommy brother, Tommy, Joel's brother, Tommy, is apparently 1440 01:20:09,160 --> 01:20:13,639 Speaker 1: a former Firefly, his whereabouts currently unknown, and clearly he 1441 01:20:13,760 --> 01:20:16,840 Speaker 1: vouched for Joel once upon a time, and also very 1442 01:20:16,880 --> 01:20:20,000 Speaker 1: clearly his word and that vouching carried a lot of 1443 01:20:20,040 --> 01:20:25,840 Speaker 1: weight with Marlene considering again how how much hinges on 1444 01:20:26,520 --> 01:20:31,880 Speaker 1: Ellie surviving? And I had I wondered in this moment, 1445 01:20:31,960 --> 01:20:38,280 Speaker 1: like did Tommy tell Marlene about Sarah? Because why else 1446 01:20:38,320 --> 01:20:40,920 Speaker 1: would Marlene do this? Yes? 1447 01:20:41,160 --> 01:20:44,320 Speaker 2: I think they in this moment, there's so much tension 1448 01:20:44,360 --> 01:20:50,800 Speaker 2: and frustration and history in Tommy joining the Fireflies. You know, 1449 01:20:52,200 --> 01:20:54,840 Speaker 2: Joel is horrified that he joined this militia group. Well, 1450 01:20:54,840 --> 01:20:57,559 Speaker 2: he's upset, he feels rejected. He mentions it to Mollne. 1451 01:20:57,720 --> 01:21:00,560 Speaker 2: Molene and Tommy were obviously close enough that she TRIEDIM. 1452 01:21:00,960 --> 01:21:04,439 Speaker 2: I believe Tommy told her and I don't believe that 1453 01:21:04,479 --> 01:21:06,760 Speaker 2: Molline is coming into this with some like he had 1454 01:21:06,800 --> 01:21:10,559 Speaker 2: a daughter, he'll care. I think it is. She probably 1455 01:21:10,560 --> 01:21:12,720 Speaker 2: hopes that's the case, but I think it's a more 1456 01:21:12,800 --> 01:21:17,839 Speaker 2: cynical approach of well, I know his loss, so perhaps 1457 01:21:17,880 --> 01:21:20,439 Speaker 2: this is like something I can explain it, I can 1458 01:21:20,479 --> 01:21:22,960 Speaker 2: exploit it, and maybe he'll do something good for a 1459 01:21:23,080 --> 01:21:26,320 Speaker 2: change because of it. I think I think Tommy told 1460 01:21:26,360 --> 01:21:27,760 Speaker 2: Marlene right. 1461 01:21:27,840 --> 01:21:30,840 Speaker 1: I think he said something to the effect of, Hey, 1462 01:21:32,320 --> 01:21:35,800 Speaker 1: I know somebody who doesn't care whether he lives or 1463 01:21:35,800 --> 01:21:39,320 Speaker 1: dies and is a really badass person moving through this world, 1464 01:21:39,439 --> 01:21:45,360 Speaker 1: who I think would react in a deeply loyal and 1465 01:21:45,400 --> 01:21:49,080 Speaker 1: emotional way to this girl, Ellie. I think he said 1466 01:21:49,080 --> 01:21:51,519 Speaker 1: something like that to her. Ellie, of course, is unsure, 1467 01:21:51,600 --> 01:21:54,120 Speaker 1: and we can understand from the way she talks and 1468 01:21:54,160 --> 01:21:57,640 Speaker 1: the way she's responding now that she's not scared of 1469 01:21:57,680 --> 01:21:59,960 Speaker 1: anything in a way that I think because of her age, 1470 01:22:00,640 --> 01:22:02,960 Speaker 1: you are like, that's dangerous for you to not be 1471 01:22:03,000 --> 01:22:07,280 Speaker 1: scared of anything like But she's fierce and very wisely 1472 01:22:07,360 --> 01:22:09,000 Speaker 1: she you know, she would say like, I don't know 1473 01:22:09,040 --> 01:22:11,080 Speaker 1: this fucking guy, Who the fuck is this guy? You're 1474 01:22:11,080 --> 01:22:12,880 Speaker 1: gonna send me off alone? With this fucking guy. 1475 01:22:12,920 --> 01:22:13,360 Speaker 2: I don't know. 1476 01:22:14,000 --> 01:22:17,759 Speaker 1: But Tess is like, hey, Joel clearly is not wild 1477 01:22:17,760 --> 01:22:21,400 Speaker 1: about it either, Like I think he sees Ellie in 1478 01:22:21,439 --> 01:22:23,519 Speaker 1: this moment as like a weight. 1479 01:22:23,640 --> 01:22:27,080 Speaker 2: That would, yeah, but just around his neck. He doesn't 1480 01:22:27,120 --> 01:22:30,040 Speaker 2: need that, he doesn't need the emotional connection, he doesn't 1481 01:22:30,080 --> 01:22:32,400 Speaker 2: need a kid. It's I find it very interesting too, 1482 01:22:32,439 --> 01:22:35,400 Speaker 2: because when you think about the time jump, what you're 1483 01:22:35,439 --> 01:22:39,679 Speaker 2: talking about with Ellie is somebody who grew up only 1484 01:22:39,800 --> 01:22:41,040 Speaker 2: knowing this world. 1485 01:22:40,880 --> 01:22:43,599 Speaker 1: Only knowing this Yes, that's such a great point. 1486 01:22:43,680 --> 01:22:46,200 Speaker 2: I find that so interesting and I can't wait to 1487 01:22:46,200 --> 01:22:49,080 Speaker 2: see how they explore that in the show. But yeah, 1488 01:22:49,120 --> 01:22:52,920 Speaker 2: it's it's very intriguing, and neither of them are that interested. 1489 01:22:53,120 --> 01:22:55,880 Speaker 2: But of course the game goes where the game goes. 1490 01:22:56,800 --> 01:23:01,760 Speaker 1: Yeah, and of course Tess wants those fucking guns back. 1491 01:23:01,920 --> 01:23:03,800 Speaker 1: She needs him back and she wants to see him. 1492 01:23:03,840 --> 01:23:06,400 Speaker 1: So she's like, you, just, Joel, just fucking do it. 1493 01:23:06,439 --> 01:23:07,880 Speaker 1: Take her to the North Tunnel and wait for me. 1494 01:23:07,920 --> 01:23:11,320 Speaker 1: How hard could it be? And Joel and Ellie head off, 1495 01:23:11,360 --> 01:23:14,600 Speaker 1: and thus begins that part of the tale, which we 1496 01:23:14,640 --> 01:23:18,800 Speaker 1: will pick up at a later date. Incredible game, wonderful game. 1497 01:23:19,080 --> 01:23:19,920 Speaker 2: Yeah, there's a. 1498 01:23:19,840 --> 01:23:21,680 Speaker 1: Lot of great things to read if you want to 1499 01:23:21,680 --> 01:23:24,360 Speaker 1: read more about this game that were written in the 1500 01:23:24,439 --> 01:23:27,839 Speaker 1: time that it came out. I think of Tom Bissell's 1501 01:23:27,840 --> 01:23:30,840 Speaker 1: Truish grit on Grantland, which is a place that I 1502 01:23:30,920 --> 01:23:34,080 Speaker 1: used to write for. Here's a quote from that. I 1503 01:23:34,120 --> 01:23:35,680 Speaker 1: played through a chunk of The Last of Us in 1504 01:23:35,680 --> 01:23:38,600 Speaker 1: the company of a talented professional level designer. It was instructive. 1505 01:23:38,880 --> 01:23:41,160 Speaker 1: The game opens in a little girls room mind A 1506 01:23:41,240 --> 01:23:45,000 Speaker 1: level designer friend walked around the space, impressed first foremost 1507 01:23:45,080 --> 01:23:48,120 Speaker 1: by the convincingness of his character's sleepy head animation set. 1508 01:23:48,160 --> 01:23:50,439 Speaker 1: Then he began to point out art assets that seemed 1509 01:23:50,439 --> 01:23:53,200 Speaker 1: to him particularly well made that he said at one 1510 01:23:53,240 --> 01:23:56,920 Speaker 1: point is an amazing fucking bean bag. It's just, yeah, 1511 01:23:57,000 --> 01:24:01,320 Speaker 1: it's just an incredibly immersive game. The New Yorker wrote 1512 01:24:01,960 --> 01:24:05,880 Speaker 1: a really cool piece about whether The Last of Us 1513 01:24:05,920 --> 01:24:11,440 Speaker 1: can become really the first high quality video game adaptation 1514 01:24:12,160 --> 01:24:17,000 Speaker 1: in history, in either film or the television space. I guess, 1515 01:24:17,080 --> 01:24:22,240 Speaker 1: you know, I don't know how people feel about, you know, 1516 01:24:22,680 --> 01:24:26,160 Speaker 1: the fucking Assassin's Creed or some of these other adaptations 1517 01:24:26,200 --> 01:24:26,720 Speaker 1: stay out there. 1518 01:24:27,439 --> 01:24:29,840 Speaker 2: It's the cultural agreement that we have made, is that 1519 01:24:30,000 --> 01:24:34,320 Speaker 2: video game adaptations rarely live up to the video game. 1520 01:24:34,680 --> 01:24:37,920 Speaker 1: And I'm excited to cover the television show Rosie and 1521 01:24:38,000 --> 01:24:42,400 Speaker 1: to see how tightly or loosely it hues to the 1522 01:24:42,720 --> 01:24:45,400 Speaker 1: story and arc of the original game. I think you'll 1523 01:24:45,439 --> 01:24:47,880 Speaker 1: find some for those of you who end up reading 1524 01:24:47,920 --> 01:24:50,439 Speaker 1: the New York article, there's some cool tidbits in there 1525 01:24:50,520 --> 01:24:55,400 Speaker 1: about how Craig Mason, showrunner, kind of designed the shows 1526 01:24:55,600 --> 01:24:57,920 Speaker 1: episodes as kind of video game levels, where it's like 1527 01:24:58,640 --> 01:25:02,080 Speaker 1: you go to a place, you meet some characters, and 1528 01:25:02,120 --> 01:25:04,400 Speaker 1: then you go to another place in another episode, and 1529 01:25:04,439 --> 01:25:08,360 Speaker 1: you kind of leave those characters and places behind, fascinated 1530 01:25:08,400 --> 01:25:10,000 Speaker 1: to watch the show. I can't wait. Yeah. 1531 01:25:10,040 --> 01:25:13,400 Speaker 2: I mean, we're in a really interesting place because this 1532 01:25:13,520 --> 01:25:18,120 Speaker 2: show currently has ninety seven percent on Rotten Tomatoes, damn, 1533 01:25:18,200 --> 01:25:21,559 Speaker 2: and that is reviews from everywhere, from IGN, you know, 1534 01:25:21,720 --> 01:25:25,920 Speaker 2: which gave it an almost perfect score, to like the 1535 01:25:25,960 --> 01:25:29,320 Speaker 2: Hollywood Reporter, all these different kinds of people who are 1536 01:25:29,439 --> 01:25:34,320 Speaker 2: enjoying this adaptation. I saw lots of kind of things 1537 01:25:34,400 --> 01:25:36,479 Speaker 2: that could have sounded hyperbolic, the idea that this is 1538 01:25:36,520 --> 01:25:38,360 Speaker 2: going to be the first smash hit of the year 1539 01:25:38,400 --> 01:25:42,080 Speaker 2: for HBO, but from people's responses, it really sounds like 1540 01:25:42,120 --> 01:25:45,559 Speaker 2: they've managed to capture something about the game that was 1541 01:25:45,560 --> 01:25:47,720 Speaker 2: so special while still making it accessible to people who 1542 01:25:47,800 --> 01:25:51,000 Speaker 2: haven't played it. So we could be getting this could 1543 01:25:51,040 --> 01:25:55,599 Speaker 2: be our first widely recognized prestige video game adaptation made 1544 01:25:55,600 --> 01:25:58,760 Speaker 2: in America. So I'm very excited and i can't wait 1545 01:25:58,800 --> 01:25:59,840 Speaker 2: to talk to you about it more. 1546 01:26:00,640 --> 01:26:02,960 Speaker 1: Yeah, we'll be continuing our coverage of the Last of Us, 1547 01:26:03,000 --> 01:26:07,439 Speaker 1: both the game and the show here on x ray Vision. 1548 01:26:09,720 --> 01:26:12,479 Speaker 1: And that's it for us this week. Rosie, anything to. 1549 01:26:12,520 --> 01:26:16,840 Speaker 2: Plug, plug, plug, plug plug plug, you can find me 1550 01:26:16,920 --> 01:26:21,800 Speaker 2: the usual places, Instagram, letterboxed. I'm Rosie Marx if you're 1551 01:26:21,840 --> 01:26:24,599 Speaker 2: interested in IM and the Waspontumania. I had a big 1552 01:26:24,680 --> 01:26:28,559 Speaker 2: modoc explainer go up on IgM which was so fun, 1553 01:26:28,640 --> 01:26:30,519 Speaker 2: and I put a little theory in there, kind of 1554 01:26:30,600 --> 01:26:32,519 Speaker 2: building more on what me and Jason were talking about 1555 01:26:32,560 --> 01:26:36,559 Speaker 2: today about Yellowjacket and his role in the movie. I've 1556 01:26:36,640 --> 01:26:39,680 Speaker 2: got some cool stuff coming out at other places primetimer 1557 01:26:39,800 --> 01:26:43,120 Speaker 2: nerdiced the usual spots Den of Geek. I have a 1558 01:26:43,120 --> 01:26:45,680 Speaker 2: big Den of Geek cover story coming out soon I 1559 01:26:45,720 --> 01:26:47,960 Speaker 2: can't talk about, but it will be out soon. I 1560 01:26:48,000 --> 01:26:50,439 Speaker 2: did some cool coverage of Willow the final episode is 1561 01:26:50,479 --> 01:26:53,920 Speaker 2: out today. That's a lot of fun. So yeah, just 1562 01:26:54,479 --> 01:26:58,120 Speaker 2: all good stuff. And I love all bad video game movies, 1563 01:26:58,160 --> 01:27:04,280 Speaker 2: so I've written quite extensively about many of them. 1564 01:27:05,080 --> 01:27:07,959 Speaker 1: Catch the next episode of Extra Vision Wednesday, January eighteenth, 1565 01:27:08,240 --> 01:27:10,800 Speaker 1: because I remember, we're now dropping episodes two times a week. 1566 01:27:10,840 --> 01:27:14,720 Speaker 1: That's twice the Deep Dives Wednesday and Friday in your 1567 01:27:14,760 --> 01:27:17,840 Speaker 1: podcast feeds. Also, if any of you caught the Golden Globes, yes, 1568 01:27:17,880 --> 01:27:20,919 Speaker 1: that's right. The Golden Globes are back. They're not racist anymore, 1569 01:27:21,920 --> 01:27:24,120 Speaker 1: and they've solved all their problems. They are back, and 1570 01:27:24,160 --> 01:27:28,479 Speaker 1: you saw Kahi Kwan's heartfelt speech. And maybe you have 1571 01:27:28,800 --> 01:27:32,120 Speaker 1: or have not seen Everything Everywhere, All at Once. First 1572 01:27:32,880 --> 01:27:35,680 Speaker 1: point of order, watch Everything Everywhere, All at once if 1573 01:27:35,680 --> 01:27:38,200 Speaker 1: you haven't seen it, and then listen to our episode 1574 01:27:38,439 --> 01:27:42,000 Speaker 1: featuring an interview with the film's directors, the Daniels, because 1575 01:27:42,000 --> 01:27:45,679 Speaker 1: they are so creative and that movie is just really, 1576 01:27:45,760 --> 01:27:46,160 Speaker 1: really great. 1577 01:27:46,240 --> 01:27:48,880 Speaker 2: It's really incredible. Michelle yo one too. I'm hoping that 1578 01:27:48,920 --> 01:27:51,360 Speaker 2: this is going to continue through Awards season, and that 1579 01:27:51,479 --> 01:27:54,160 Speaker 2: was just such a delightful chat. I'm ready to see it. 1580 01:27:54,240 --> 01:27:57,320 Speaker 2: Angela Bassett one for Black Panther, so we get so 1581 01:27:57,720 --> 01:28:01,479 Speaker 2: some of our fabes have been an don't forget. Subscribe 1582 01:28:01,520 --> 01:28:04,240 Speaker 2: to the show on YouTube, follow xrvpod on Twitter where 1583 01:28:04,240 --> 01:28:08,120 Speaker 2: we are always retweeting cool stuff. Responding to your amazing tattoos. 1584 01:28:08,680 --> 01:28:10,519 Speaker 2: That was something cool that we got to do recently. 1585 01:28:11,280 --> 01:28:13,920 Speaker 2: And of course check out our discord to meet and 1586 01:28:13,960 --> 01:28:16,880 Speaker 2: hang out with a bunch of our rad listeners. We've 1587 01:28:16,920 --> 01:28:18,800 Speaker 2: got really great mods in there. It's just a ton 1588 01:28:18,840 --> 01:28:22,360 Speaker 2: of fun, and me and Jason are in there inactive too. Also. 1589 01:28:23,040 --> 01:28:24,960 Speaker 2: We love hearing your nerd outs. They're one of our 1590 01:28:25,000 --> 01:28:28,360 Speaker 2: favorite things. But we also know that you have a 1591 01:28:28,479 --> 01:28:33,400 Speaker 2: lot of great theories, so if you want to share them, 1592 01:28:33,680 --> 01:28:35,439 Speaker 2: nerd outs will now also be a place for you 1593 01:28:35,520 --> 01:28:39,479 Speaker 2: to share your theories favorite shows, movies, comic books, books, 1594 01:28:39,600 --> 01:28:42,000 Speaker 2: any theory you've got, send them to us. Send your 1595 01:28:42,040 --> 01:28:45,120 Speaker 2: tinfoiliest fan theories in a two minute or less voice 1596 01:28:45,160 --> 01:28:47,800 Speaker 2: memode to x Ray at crooked dot com and we 1597 01:28:47,840 --> 01:28:51,800 Speaker 2: will discuss the ones that really spark our imagination on 1598 01:28:51,840 --> 01:28:52,200 Speaker 2: the show. 1599 01:28:52,960 --> 01:28:55,280 Speaker 1: And it doesn't matter if it's a show that's not 1600 01:28:55,360 --> 01:28:57,600 Speaker 1: on the ear right now. Yeah, if it's at a 1601 01:28:57,720 --> 01:28:59,920 Speaker 1: season's House of the Dragon, we're passibly you know we're waiting. 1602 01:29:00,680 --> 01:29:03,080 Speaker 1: You could be anything that you want. If you very 1603 01:29:03,120 --> 01:29:05,639 Speaker 1: want to hear have we want to hear it. Five 1604 01:29:05,680 --> 01:29:08,160 Speaker 1: star reviews. We love them, we need them, we gotta 1605 01:29:08,240 --> 01:29:11,479 Speaker 1: have them. Leave us the five star reviews wherever you 1606 01:29:11,520 --> 01:29:14,960 Speaker 1: can leave reviews. Here's one from music My Refuge look 1607 01:29:15,000 --> 01:29:17,800 Speaker 1: forward to listening every Friday. Jason and Rosie are the best, 1608 01:29:18,160 --> 01:29:20,559 Speaker 1: super knowledgeable on all on things us nerds love, but 1609 01:29:20,560 --> 01:29:22,560 Speaker 1: they're able to talk about it in a fun, personable 1610 01:29:22,560 --> 01:29:26,440 Speaker 1: and inclusive way. Thank you, Thank you much, My Refuge. 1611 01:29:26,680 --> 01:29:28,800 Speaker 1: That is what we try to do and we'll see 1612 01:29:28,840 --> 01:29:32,120 Speaker 1: you next week. X ray Vision is a Crooked Media production. 1613 01:29:32,160 --> 01:29:33,920 Speaker 1: The show is produced by Chris Lord and Soul Rubin. 1614 01:29:33,960 --> 01:29:36,760 Speaker 1: The show is executive produced by myself and Sandy rhard 1615 01:29:36,760 --> 01:29:40,880 Speaker 1: Are Editing and sound designs by Vascillias Photopoulos. Dilon Villanueva 1616 01:29:40,920 --> 01:29:43,760 Speaker 1: and Matt de Group provide video production support. Alex Rella 1617 01:29:43,840 --> 01:29:46,400 Speaker 1: for handle social media. Thank you Brian Vesquez for a 1618 01:29:46,479 --> 01:29:48,759 Speaker 1: theme music, Goodbye Bye.