WEBVTT - The Last of Us Video Game, Part 1

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<v Speaker 1>In times of conflict. It's the people who choose to

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<v Speaker 1>act instead of hide and fight for what's right. It's

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<v Speaker 1>the people who provide us with the greatest stories. So

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<v Speaker 1>if you're looking for stories about bravery, resilience and action,

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<v Speaker 1>I'd like to introduce you to Epic, a fiction podcast

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<v Speaker 1>from Realm. Let Epic be your new HQ for all

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<v Speaker 1>things action and adventure. Each new season tells a different

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<v Speaker 1>Control Alt Destroy Stars fireflyes Summer Glau as a video

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<v Speaker 1>game designer. She discovers that the game she created has

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<v Speaker 1>been stolen as part of a top secret project and

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<v Speaker 1>maybe the only thing keeping the world from plunging into wall.

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<v Speaker 1>Nations are competing for real world resources within her video game,

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<v Speaker 1>and Team USA hopes that bringing in the designer in

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<v Speaker 1>secret will give them the upper hand they need. This

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<v Speaker 1>story is perfect for fans of wargames and Ready Player

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<v Speaker 1>one and will draw you in even if you've never

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<v Speaker 1>played RPGs. You can listen to Control Alt Destroy and

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<v Speaker 1>all all the other stories of action adventure on Epic,

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<v Speaker 1>available wherever you get your podcasts, or at Realm dot FM.

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<v Speaker 1>Warning this podcast could take spoilers for the video game

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<v Speaker 1>The Last of Us parts one and two, but mostly one,

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<v Speaker 1>a minor spoiler for The Food by Cormack McCarthy, which

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<v Speaker 1>came out in two thousand and six. Get your get

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<v Speaker 1>to your local library and read that, plus a potential

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<v Speaker 1>spoiler for Ant Man and the Wasp Quantumnia that was

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<v Speaker 1>revealed in the latest trailer Be careful. Hello, my name

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<v Speaker 1>is Jason Concepcion and I'm Rosy Night, and welcome to

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<v Speaker 1>x ray Vision, the Crooked media podcast where we dive

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<v Speaker 1>deep into your favorite shows, movies, comics, and pop culture.

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<v Speaker 2>In this episode we got previously on The Ant Man

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<v Speaker 2>in the Wasp, Pontomania, Tree.

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<v Speaker 1>Law, and in the Airlock We're gonna be. We're visiting

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<v Speaker 1>the Last of Us video game, the masterpiece video game

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<v Speaker 1>from Naughty Dog, recently remastered on the Sony PlayStation platform,

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<v Speaker 1>So get that if you're interested in getting involved in

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<v Speaker 1>the Last of Us stuff.

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<v Speaker 2>And as always, if you want to jump around, check

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<v Speaker 2>the show notes for timestamp so you don't get spoiled.

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<v Speaker 2>Or you want to hair off theories again and again,

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<v Speaker 2>you can just jump back.

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<v Speaker 1>All right, let's get into it. First up, a little

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<v Speaker 1>bit of news. This trailer dropped Monday evening after we

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<v Speaker 1>had recorded our first episode of the week. It is

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<v Speaker 1>the ant Man Quantumedia trailer. The movie comes out February seventeenth,

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<v Speaker 1>directed by Peyton Reed, written by Jeff Loveness, Paul Rudd Is,

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<v Speaker 1>Scott Lang, Evangeline Lily is the Wasp, Jonathan Majors, of

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<v Speaker 1>course spotlighted as King the Conqueror New Edition, Catherine Newton

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<v Speaker 1>as the new Cassie Lang, and William Jackson Harper potentially Quasar.

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<v Speaker 1>We're getting this from imdby Listen, here's I'm a mark.

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<v Speaker 1>I don't know what to tell you. I thought this

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<v Speaker 1>trailer looked great, and I'm very excited.

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<v Speaker 2>It looks so good. I mean, look, one, you got

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<v Speaker 2>Kang and they fully committed. They didn't give him some

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<v Speaker 2>weird military backstory. We didn't have to see something strange.

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<v Speaker 2>He's wearing purple, he's wearing green, he's wearing boots, he's

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<v Speaker 2>wearing a cape. Is he wearing a mini skirt? I

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<v Speaker 2>hope to see it. So currently he's in shadow, but

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<v Speaker 2>it looks like a classic costume. And then not only that,

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<v Speaker 2>but it's this super weird Cosmic Tale and yeah, that

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<v Speaker 2>pr The email they sent out was really interesting because

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<v Speaker 2>it confirmed that William Jackson Harp is playing this character

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<v Speaker 2>called Quas, which a lot of people are saying it's Quasar. Also,

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<v Speaker 2>we got David Dashmalion who is gonna come back, but

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<v Speaker 2>not as Kurt. He's playing character called Verb. I think

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<v Speaker 2>we see Verb and Quas. And then this other character

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<v Speaker 2>that they announced called Gentra. I think we see them

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<v Speaker 2>in the first trailer. They're three people that kind of

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<v Speaker 2>stand there. Veb I think has this glowing head that's

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<v Speaker 2>my guest. So you're getting really weird stuff. You're getting

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<v Speaker 2>great returning cast members. And that's before we even get

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<v Speaker 2>to Modoc, who you know, the mental organism designed only

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<v Speaker 2>for killing. He's here and it looked like I thought

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<v Speaker 2>for a minute, I was like, is that Paul shit,

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<v Speaker 2>But it wasn't. It was Corey Stall. It was Corey

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<v Speaker 2>Stall's giant head.

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<v Speaker 1>I love that wrinkle. Little surprised they left the maskless

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<v Speaker 1>frame in the Yeah, trailer is a reveal, but I

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<v Speaker 1>love the fact that Corey Stall, sucked into the quantum

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<v Speaker 1>realm is still there, still around, still doing evil story

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<v Speaker 1>station shit.

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<v Speaker 2>That's definitely what it is. I think a lot of

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<v Speaker 2>people were wondering when the rumor started going, Oh, it's

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<v Speaker 2>Corey Stahl. He's going to be playing Modoc. You know,

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<v Speaker 2>his alter ego in the comics is George Tarlton. People

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<v Speaker 2>were like, oh, they must be recasting him. He's a

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<v Speaker 2>great actor. It's kind of like Jemma Chan going from

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<v Speaker 2>Captain Marvel to Eternals and being a new character. But no,

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<v Speaker 2>I think you are correct. I wrote a piece of

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<v Speaker 2>IGN yesterday about it. I think that yellowjacket, as we

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<v Speaker 2>saw at the end of ant Man, get sucked in

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<v Speaker 2>and kind of mangled to this subatomic size, and I

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<v Speaker 2>think that's likely why his head is this giant size.

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<v Speaker 2>I think it might be part of one of the

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<v Speaker 2>only parts of his body that's left. And we see

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<v Speaker 2>him sitting in the famous Modoc chair, and then they

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<v Speaker 2>get that shot that we'd kind of had teased from

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<v Speaker 2>some toy leaks. Of course, the ultimate score location of

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<v Speaker 2>Modoc in some kind of battle armor, which is very

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<v Speaker 2>interesting because that doesn't really exist in the comics. But yeah,

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<v Speaker 2>this is this movie is going to be absolutely wild.

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<v Speaker 2>It's going to be absolutely wild.

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<v Speaker 1>Here is what I think is pretty easily gleaned from

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<v Speaker 1>the trailer, seems like. So Scott obviously disappeared in the Snap,

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<v Speaker 1>returned in the Blip five years later, save the world

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<v Speaker 1>as a part of the battle against Thanas, but lost

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<v Speaker 1>five years raising Cassie, who we see being released from

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<v Speaker 1>prison and is gone maybe on a on a kind

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<v Speaker 1>of darker, more criminal minded path. I wonder where she

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<v Speaker 1>gets that from Scott. Okay, and so Scott probably thinking, God,

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<v Speaker 1>I need I wish I had that time back. I

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<v Speaker 1>could have raised Cassie right, I could have done a

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<v Speaker 1>better job by her. Then comes this message from the

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<v Speaker 1>Quantum Realm. They get sucked in there, and my guess

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<v Speaker 1>is Kang Kan just wants out. Kang has been trapped

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<v Speaker 1>in there for this version of Kang, you know, the

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<v Speaker 1>conqueror has been trapped in the Quantum Realm and can't

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<v Speaker 1>get out and needs Scott's help getting out, and in

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<v Speaker 1>return for him getting out, he will, I guess, returns

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<v Speaker 1>Scott to a to a timeline happen.

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<v Speaker 2>Yeah, it's unclear. What is very clear is that, uh,

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<v Speaker 2>you know, Janet van Dey, played by the icon Michelle Pfeiffer,

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<v Speaker 2>has a She has a history with Kang. I like

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<v Speaker 2>to imagine that they had a romantic and quantum entanglement

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<v Speaker 2>while she was there. But we see her, you know,

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<v Speaker 2>she's talking about as she kept the secret, and we

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<v Speaker 2>see her hiding something that looks a lot like the

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<v Speaker 2>rings that we saw Fastos making in Eternals and the

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<v Speaker 2>ten Rings from Shangchi. So it's gonna be some kind

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<v Speaker 2>of artifact. It could be connected to the Ten Rings,

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<v Speaker 2>it could be a different version of them that it

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<v Speaker 2>seems like Janet hid in the quantum realm while she

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<v Speaker 2>was there. And we're going to see that classic ant

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<v Speaker 2>man heist story coming in again, which is always the

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<v Speaker 2>way every anamo you're going to do a heist, and

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<v Speaker 2>I think it's very fun to imagine where that would go.

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<v Speaker 2>I I'm interested to see how they sell the emotional

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<v Speaker 2>journey of Scott being willing to do something terrible to

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<v Speaker 2>get this time back, because I don't know if it

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<v Speaker 2>aligns with how I see him. But maybe that darker

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<v Speaker 2>road that Cassi went down, maybe that's the thing that

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<v Speaker 2>he wants to change, and that would be a believable arc.

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<v Speaker 2>But yeah, I mean, this thing looks bonn because and

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<v Speaker 2>one of the weirdest things about it is they're pulling

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<v Speaker 2>all these characters Jenra, Kryla, that Krayla had like one appearance,

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<v Speaker 2>and they're pulling these characters from really weird, Incredible Hulk storylines.

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<v Speaker 2>So I'm very interested to see if that's something that's

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<v Speaker 2>gonna come up.

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<v Speaker 1>That's what I was gonna say. This really is the

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<v Speaker 1>Incredible Hulk enters the Microverse exactly. Basically, it's the Hulk

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<v Speaker 1>gets sucked into the micro Verse where he falls deeply

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<v Speaker 1>in love as always as all as he always does

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<v Speaker 1>when he goes to another relm and gets you know,

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<v Speaker 1>ensnared in this microverse war that he then has to

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<v Speaker 1>fight in YadA, YadA, YadA. But it feels like that's.

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<v Speaker 2>Yeah, well, I mean they're doing here. There's a direct

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<v Speaker 2>connection to that because Kryla his first appearance was during

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<v Speaker 2>that Microverse event in a Hulk one hundred and fifty six.

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<v Speaker 2>And Gentra, who we know is going to be played

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<v Speaker 2>by Katie O'Brien thanks to the pr blast that came

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<v Speaker 2>with this trailer. That's that's Jorella's niece. Jorella is the

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<v Speaker 2>person the Hulk fell in love with. So it's very

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<v Speaker 2>interesting to see them Yeah, Like, it's very interesting to

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<v Speaker 2>see them pulling from this Microverse stuff, which is also

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<v Speaker 2>like this very interesting controversial stuff because later on the

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<v Speaker 2>Microverse would be connected to the Micronats, which Marvel no

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<v Speaker 2>longer has the rights to, so it becomes this very

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<v Speaker 2>kind of fun, weird, deep cut history moment. But I'm

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<v Speaker 2>interested to see. There is actually an issue during that

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<v Speaker 2>Microverse arc in Hulk one hundred and fifty four where

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<v Speaker 2>Hulk is Microverse size and he crosses over with ant

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<v Speaker 2>Man and it has like a really cool cover where

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<v Speaker 2>like he's like fighting a rat and Man's like flying

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<v Speaker 2>over the top of him. So I do I look, Hulk,

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<v Speaker 2>we saw you know, Mark Ruffalo loves this character. That's

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<v Speaker 2>so many cool things they could do with it. I

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<v Speaker 2>don't necessarily know if we're going to get our Ulk cameo,

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<v Speaker 2>but I do feel like he's one of the characters

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<v Speaker 2>that they're really interested in placing into these stories, like

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<v Speaker 2>they did with She Hulk, you know, like his role

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<v Speaker 2>in Infinity War especially, So yeah, I'll be intrigued to see.

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<v Speaker 2>But I love that they're taking from these weird kind

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<v Speaker 2>of eras. I wonder if that's Peyton read and Jeff

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<v Speaker 2>Loveness too, because they're around our age, and I feel

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<v Speaker 2>like the Microverse stuff, if you're just a little bit

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<v Speaker 2>older than us or you're around our age and you

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<v Speaker 2>were digging in the back issues, that is probably something

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<v Speaker 2>that's like close to your heart. That's like a weird arc.

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<v Speaker 2>So I'd be really interested to know if this was

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<v Speaker 2>more of like a personal look back, kind of like

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<v Speaker 2>how Jessica Gow was bringing a lot of the stuff

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<v Speaker 2>she loved from She Hulk to that story. Yeah, looks

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<v Speaker 2>absolutely bonkers.

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<v Speaker 1>Yeah, if anybody has a Marvel Unlimited plan or access

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<v Speaker 1>to old comics, check out that Hulk in the Microverse run.

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<v Speaker 1>First of all, that is, you know, it was a

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<v Speaker 1>very influential story line. That romance is very influential. Hulk

0:11:02.600 --> 0:11:05.520
<v Speaker 1>fans still talk about it, and you'll see also the

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<v Speaker 1>kind of template that uh, you know was later followed

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<v Speaker 1>in some of the great you know, Hulk crossovers like

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<v Speaker 1>Planet Hulk. I think Planet Hulk is like, yeah, is

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<v Speaker 1>built on the bones of the Hulk in the micro version.

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<v Speaker 2>Yeah, the Hulk as a as a fish out of water,

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<v Speaker 2>not being able to be that huge, looming, kind of

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<v Speaker 2>singular beast that he's always been that's been able to help,

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<v Speaker 2>and that definitely very much travels through those other Hulk events.

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<v Speaker 2>So yeah, it's really fun. It starts in Avengers e.

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<v Speaker 2>E eight. I've just been rereading it all today after

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<v Speaker 2>getting the after watching the trailer, So it begins in

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<v Speaker 2>AE eight and then it's basically like random issues from

0:11:46.559 --> 0:11:48.880
<v Speaker 2>Hulk one forty to Hulk two o three. So great

0:11:48.960 --> 0:11:50.960
<v Speaker 2>thing to check out, Like Jason said, if you have

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<v Speaker 2>an unlimited account, or if you're just going through and

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<v Speaker 2>doing some back issue digging, because trust me, those are

0:11:56.120 --> 0:11:58.080
<v Speaker 2>some weird issues. I'm sure you can just still find

0:11:58.080 --> 0:11:59.160
<v Speaker 2>them around and about.

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<v Speaker 1>Next up, let's talk about the Last of Us. This

0:12:05.960 --> 0:12:08.080
<v Speaker 1>episode of X ray Vision is brought to you by

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0:15:37.680 --> 0:15:41.120
<v Speaker 1>out of the airlock and into the year twenty thirteen

0:15:41.160 --> 0:15:43.800
<v Speaker 1>to discuss the video game phenomenon that was and that

0:15:44.040 --> 0:15:49.400
<v Speaker 1>is the last of us The Last of Us released

0:15:49.840 --> 0:15:53.880
<v Speaker 1>on PS three in June of twenty thirteen. Developed by

0:15:54.000 --> 0:15:57.440
<v Speaker 1>Naughty Dog. This is there kind of like they had

0:15:57.640 --> 0:16:00.720
<v Speaker 1>already made a name for themselves in the kind of

0:16:00.760 --> 0:16:04.520
<v Speaker 1>like cinematic third person action space with the Uncharted series.

0:16:05.280 --> 0:16:10.080
<v Speaker 1>Absolutely wonderful story about in Indiana Jones knockoff who kills

0:16:10.200 --> 0:16:13.600
<v Speaker 1>eight hundred guys in order to heist you know, various

0:16:13.680 --> 0:16:17.640
<v Speaker 1>like gold objects from around the world, and then they

0:16:17.840 --> 0:16:21.240
<v Speaker 1>come with the Last of Us, which just seemed to

0:16:21.360 --> 0:16:25.760
<v Speaker 1>knit together, you know, a bunch of strands of things

0:16:25.760 --> 0:16:28.040
<v Speaker 1>that were kind of like in the air at the time.

0:16:28.120 --> 0:16:33.200
<v Speaker 1>This is like post the banking collapse, still like you know,

0:16:33.280 --> 0:16:36.720
<v Speaker 1>post nine to eleven era, this kind of post the Road,

0:16:37.280 --> 0:16:42.280
<v Speaker 1>This kind of dystopian story about the middle aged guy

0:16:42.800 --> 0:16:46.400
<v Speaker 1>and a teenage girl who he has to escort across

0:16:46.480 --> 0:16:50.640
<v Speaker 1>the post apocalyptic wasteland and the kind of the troubles

0:16:50.680 --> 0:16:55.040
<v Speaker 1>they get in and the relationship they have. It was

0:16:55.480 --> 0:16:59.040
<v Speaker 1>written by and developed by Neil Truckman, who kind of

0:16:59.080 --> 0:17:01.800
<v Speaker 1>led the development of game, that directed it and then

0:17:02.200 --> 0:17:08.520
<v Speaker 1>kind of designed the writing direction. And I remember this

0:17:08.720 --> 0:17:11.760
<v Speaker 1>was one of I was an Xbox person and so

0:17:13.560 --> 0:17:18.280
<v Speaker 1>this game was one of the reasons that I saved

0:17:18.359 --> 0:17:23.439
<v Speaker 1>up money in order to get a PlayStation because I

0:17:23.520 --> 0:17:26.359
<v Speaker 1>was watching you know, gameplay of it, and particularly the

0:17:26.440 --> 0:17:29.640
<v Speaker 1>multiplayer gameplay, which I was very into at the time.

0:17:29.680 --> 0:17:31.720
<v Speaker 1>I was like a big Call of Duty Black Ops

0:17:31.720 --> 0:17:37.760
<v Speaker 1>person and it just looked it just looked absolutely mesmerizing.

0:17:37.880 --> 0:17:43.640
<v Speaker 1>It was grittier and like more in air quotes realistic

0:17:43.720 --> 0:17:46.840
<v Speaker 1>than anything I'd seen before then. And then you know,

0:17:46.920 --> 0:17:50.080
<v Speaker 1>playing it for the first time, you kind of never

0:17:51.320 --> 0:17:55.200
<v Speaker 1>there's just it's an indelible experience. It's one of those

0:17:55.240 --> 0:17:57.879
<v Speaker 1>games where kind of like Resident Evil but very different,

0:17:57.960 --> 0:18:01.640
<v Speaker 1>where your care or the character whoever you're controlling, whether

0:18:01.680 --> 0:18:05.679
<v Speaker 1>it's Jrol Er Ellie, feels so vulnerable, and that just

0:18:05.800 --> 0:18:10.200
<v Speaker 1>affects the way that you play the game. It creates

0:18:10.200 --> 0:18:13.640
<v Speaker 1>an enormous amount of tens just game I really love,

0:18:13.640 --> 0:18:16.560
<v Speaker 1>and I think it's one of the best stories told

0:18:16.760 --> 0:18:19.440
<v Speaker 1>in a video game of all time. Was your experience?

0:18:19.520 --> 0:18:22.840
<v Speaker 2>Yeah, I totally agree. Like this game and God of War,

0:18:22.920 --> 0:18:25.560
<v Speaker 2>those were like two big game changes for me. I'd

0:18:25.560 --> 0:18:30.360
<v Speaker 2>always been predominantly into fighting games and platformers, and I

0:18:30.440 --> 0:18:34.640
<v Speaker 2>really remember both of these games feeling like, oh, this

0:18:34.760 --> 0:18:38.840
<v Speaker 2>is if a platform game was three D and had

0:18:38.920 --> 0:18:42.600
<v Speaker 2>puzzles like tomb Raider, but was also a fighting game

0:18:42.800 --> 0:18:44.960
<v Speaker 2>and you have to learn different combos and different ways

0:18:44.960 --> 0:18:48.159
<v Speaker 2>to disarm people, and you can stealthily creep up on people,

0:18:48.240 --> 0:18:51.480
<v Speaker 2>and it was kind of I think about The Last

0:18:51.480 --> 0:18:53.560
<v Speaker 2>of Us a lot because it is this really interesting

0:18:53.560 --> 0:18:55.600
<v Speaker 2>cyclical thing, and as we cover this in the show,

0:18:55.640 --> 0:18:56.960
<v Speaker 2>I'm going to be just talking about this all the

0:18:56.960 --> 0:18:59.400
<v Speaker 2>time because it kind of blows my mind. So Last

0:18:59.400 --> 0:19:02.560
<v Speaker 2>of Us is develop in two thousand and nine, which

0:19:02.640 --> 0:19:06.960
<v Speaker 2>is six years after the Walking Dead comic comes out,

0:19:07.080 --> 0:19:11.680
<v Speaker 2>and the influence of The Walking Dead on the kind

0:19:11.680 --> 0:19:14.600
<v Speaker 2>of conception of this game and the tone of this game.

0:19:14.760 --> 0:19:19.040
<v Speaker 2>When you think of the comics, it can't really be erased,

0:19:19.119 --> 0:19:23.560
<v Speaker 2>you know, because it's such an unbelievable kind of change

0:19:23.560 --> 0:19:27.000
<v Speaker 2>in the way we approach zombie storytelling. But the thing

0:19:27.000 --> 0:19:30.200
<v Speaker 2>that blows my mind is the game was in development

0:19:30.520 --> 0:19:34.159
<v Speaker 2>a year before the Walking Dead TV show started, which

0:19:34.200 --> 0:19:38.080
<v Speaker 2>to me is just so wild because this establishes so

0:19:38.280 --> 0:19:42.080
<v Speaker 2>much of the tone and the vibe and the emotions

0:19:42.119 --> 0:19:43.960
<v Speaker 2>that then would go on to become a big part

0:19:44.000 --> 0:19:45.359
<v Speaker 2>of The Walking Dead. So I kind of see the

0:19:45.400 --> 0:19:47.080
<v Speaker 2>Last of Us in The Walking Dead as this really

0:19:47.119 --> 0:19:51.960
<v Speaker 2>interesting cyclical constantly inspiring each other and taking inspiration from

0:19:52.040 --> 0:19:52.440
<v Speaker 2>each other.

0:19:54.200 --> 0:19:56.960
<v Speaker 1>I see it very I see a lot of the

0:19:57.080 --> 0:19:58.720
<v Speaker 1>Road in it. To the Road, I think, oh, yeah,

0:19:58.760 --> 0:20:00.679
<v Speaker 1>I want to say it was published in two thousand

0:20:00.680 --> 0:20:01.040
<v Speaker 1>and six.

0:20:01.400 --> 0:20:03.320
<v Speaker 2>Yeah, coffee, I mean that.

0:20:03.720 --> 0:20:08.600
<v Speaker 1>Yeah. You know, first of all, it's in that story

0:20:08.720 --> 0:20:10.840
<v Speaker 1>you're talking about the relationshipsween a father and son. But

0:20:10.960 --> 0:20:14.399
<v Speaker 1>very similarly, it's like, you know, the father is the

0:20:14.400 --> 0:20:20.280
<v Speaker 1>protector of this teenage boy and and the kid is

0:20:21.640 --> 0:20:25.800
<v Speaker 1>so innocent in a way. We'll talk about the way

0:20:25.840 --> 0:20:28.119
<v Speaker 1>Elie is depicted in this. In this story, it's very

0:20:28.160 --> 0:20:31.440
<v Speaker 1>much similar, so innocent and kid like in a way

0:20:31.440 --> 0:20:33.879
<v Speaker 1>that feels dangerous in that world. And I think the

0:20:33.920 --> 0:20:36.600
<v Speaker 1>other thing that that really hit, you know, above and

0:20:36.640 --> 0:20:39.159
<v Speaker 1>beyond the fact that you're talking about this you know,

0:20:39.680 --> 0:20:43.800
<v Speaker 1>parent child kind of construction is, you know, in the road,

0:20:43.840 --> 0:20:47.560
<v Speaker 1>there's a moment where they get cornered by you know,

0:20:47.600 --> 0:20:52.720
<v Speaker 1>one of the cannibals that's that's roaming spoiler spoiler sorry,

0:20:53.119 --> 0:20:58.120
<v Speaker 1>and the dad shoots the guy. He had one bullet

0:20:58.160 --> 0:21:01.800
<v Speaker 1>in a revolver and then would carved to look like

0:21:01.880 --> 0:21:04.520
<v Speaker 1>bullets and painted black. That he so that he put

0:21:04.560 --> 0:21:05.800
<v Speaker 1>in the barrel so it would look like he had

0:21:05.840 --> 0:21:09.200
<v Speaker 1>a full barrel. And that kind of like lack of resources.

0:21:09.240 --> 0:21:11.560
<v Speaker 1>We've only got one of these, I've only got one

0:21:11.640 --> 0:21:16.639
<v Speaker 1>lighter and barely like it is is absolutely integral to

0:21:16.680 --> 0:21:19.440
<v Speaker 1>the experience of playing The Last of Us, in which

0:21:19.480 --> 0:21:22.600
<v Speaker 1>you're just scrounging around for every for like pieces of

0:21:22.680 --> 0:21:24.480
<v Speaker 1>things to make knives, to make band aids out of it,

0:21:24.520 --> 0:21:26.160
<v Speaker 1>to make health potions out of top grade.

0:21:26.160 --> 0:21:28.399
<v Speaker 2>You're gone, you know, like all different things.

0:21:28.680 --> 0:21:32.200
<v Speaker 1>One thing that also I wanted to mention is that

0:21:32.640 --> 0:21:38.240
<v Speaker 1>while you know Druckman is led the development of the game,

0:21:38.359 --> 0:21:42.400
<v Speaker 1>there's you know, there's like hundreds of artisans and crafts

0:21:42.440 --> 0:21:46.200
<v Speaker 1>people that you know were worked on this game. Below

0:21:46.200 --> 0:21:47.719
<v Speaker 1>the line. You can look up the Last of Us

0:21:47.720 --> 0:21:49.639
<v Speaker 1>credits and there's pages and pages of them too, and

0:21:50.080 --> 0:21:52.920
<v Speaker 1>they were while you know, Druckman's gonna be the headline name,

0:21:53.760 --> 0:21:55.600
<v Speaker 1>a lot of people worked on this game and they

0:21:55.680 --> 0:22:00.960
<v Speaker 1>created an absolute masterpiece. So let's talk about let's quick,

0:22:01.040 --> 0:22:04.200
<v Speaker 1>let's recap the game. We're going to cover the prologue

0:22:04.400 --> 0:22:10.720
<v Speaker 1>through the chapter the Cargo, and this game opens with

0:22:11.160 --> 0:22:16.920
<v Speaker 1>I think one of the most effective cold open prologus

0:22:17.720 --> 0:22:19.600
<v Speaker 1>ever in games, because it has to do several things.

0:22:19.640 --> 0:22:21.880
<v Speaker 1>One nest to launch your characters, make you care about them,

0:22:22.200 --> 0:22:24.359
<v Speaker 1>set up the world too. It has to teach you

0:22:24.400 --> 0:22:26.879
<v Speaker 1>how to play the game on some level. It has

0:22:26.920 --> 0:22:29.000
<v Speaker 1>to teach you how to move around, what the buttons do,

0:22:29.119 --> 0:22:32.800
<v Speaker 1>how to interact with objects. Has to teach you how

0:22:32.880 --> 0:22:35.480
<v Speaker 1>you know, how you move, what the movement speed is,

0:22:35.560 --> 0:22:37.760
<v Speaker 1>what the things you are going to interact with are,

0:22:39.040 --> 0:22:42.720
<v Speaker 1>and it does all those things in a really pulse

0:22:42.720 --> 0:22:47.399
<v Speaker 1>pounding way. The year is twenty thirteen. We're in Austin, Texas. Joel,

0:22:48.080 --> 0:22:52.479
<v Speaker 1>blue collar guy and a kind of like hobbyish guitar player,

0:22:52.840 --> 0:22:56.639
<v Speaker 1>is at home fielding phone calls about work, talking about work,

0:22:56.680 --> 0:22:59.359
<v Speaker 1>and it appears he's in the construction business and somehow

0:23:00.080 --> 0:23:02.320
<v Speaker 1>some form of fashion, he's talking about a contractor that

0:23:02.520 --> 0:23:04.800
<v Speaker 1>is either not doing what they're supposed to do or

0:23:04.880 --> 0:23:08.080
<v Speaker 1>has some kind of gripe. Meanwhile, his daughter Sarah is

0:23:08.119 --> 0:23:10.879
<v Speaker 1>asleep on the couch. It's just a regular night in that, Yeah.

0:23:10.920 --> 0:23:15.560
<v Speaker 2>Just a normal night that in no way kind of

0:23:15.680 --> 0:23:19.280
<v Speaker 2>hints towards the bleakness of what is to come.

0:23:20.119 --> 0:23:24.000
<v Speaker 1>Absolutely not, Joel is we discover on the phone with

0:23:24.040 --> 0:23:27.560
<v Speaker 1>his brother Tommy, who also is in business with him somehow,

0:23:27.600 --> 0:23:29.639
<v Speaker 1>and Joel's like, listen, we can We'll talk about this

0:23:29.640 --> 0:23:32.960
<v Speaker 1>stuff in the morning. It can wait. Sarah is out

0:23:33.000 --> 0:23:36.000
<v Speaker 1>of bed, way past her bedtime. And the reason she's

0:23:36.000 --> 0:23:38.840
<v Speaker 1>out of bed, you know, wearing pajama pants and a

0:23:38.880 --> 0:23:41.040
<v Speaker 1>T shirt and sleeping on the couch. The reason she's

0:23:41.080 --> 0:23:42.800
<v Speaker 1>doing this is because she wants to give her dad

0:23:42.840 --> 0:23:46.200
<v Speaker 1>a birthday gift. It is a new watch, and you

0:23:46.280 --> 0:23:48.640
<v Speaker 1>can be using this watch all throughout the game. It's

0:23:48.640 --> 0:23:51.720
<v Speaker 1>a new watch with like a military style field strap,

0:23:51.720 --> 0:23:55.679
<v Speaker 1>a replacement for an old his older broken watch. And

0:23:55.720 --> 0:23:59.280
<v Speaker 1>here we get some of the really wonderful voice acting

0:23:59.359 --> 0:24:05.320
<v Speaker 1>and dialogue with Troy Baker playing Joel, Ashley Johnson playing

0:24:05.359 --> 0:24:09.040
<v Speaker 1>Ellie Ashley Johnson. By the way, fun fact in Marvels

0:24:09.080 --> 0:24:12.679
<v Speaker 1>The Avengers, she is the waitress during the Battle of

0:24:12.680 --> 0:24:16.520
<v Speaker 1>New York YEP who runs out and is like, oh

0:24:16.560 --> 0:24:19.240
<v Speaker 1>my god, are the Tatari you gonna kill us all? No,

0:24:19.359 --> 0:24:24.760
<v Speaker 1>Captain Eric is here, that is Ashley Johnson. Joel says,

0:24:25.000 --> 0:24:27.480
<v Speaker 1>where'd you get the money for this? Drugs? I sell

0:24:27.520 --> 0:24:30.160
<v Speaker 1>hardcore drugs. Oh good, you can start helping with the mortgage.

0:24:30.200 --> 0:24:34.960
<v Speaker 1>Then funny shit. Then there is some plaintive acoustic guitar music,

0:24:34.960 --> 0:24:36.840
<v Speaker 1>which we're gonna get a lot of over the course

0:24:36.880 --> 0:24:39.919
<v Speaker 1>of this movie, and Sarah's fallen asleep. Joel carries her

0:24:39.920 --> 0:24:44.840
<v Speaker 1>to bed. Much much later, dead of night, Sarah's awoken

0:24:44.920 --> 0:24:48.680
<v Speaker 1>by the ringing telephone and it's Tommy and he sounds desperate.

0:24:48.840 --> 0:24:51.280
<v Speaker 1>He needs to talk to Joel, but before Sarah can

0:24:51.280 --> 0:24:53.040
<v Speaker 1>get any kind of information in the line goes dead,

0:24:53.440 --> 0:24:57.199
<v Speaker 1>and Sarah rises from bed really kind of groggy and confused.

0:24:57.200 --> 0:24:59.800
<v Speaker 1>And it's at this moment that the player takes control.

0:25:00.920 --> 0:25:05.920
<v Speaker 1>It's like it's a it's a pretty it's a jarring

0:25:06.000 --> 0:25:09.719
<v Speaker 1>moment because I think you're not expecting. Yeah, you know,

0:25:09.840 --> 0:25:12.760
<v Speaker 1>like you're you're hardwired at least I am that, like, oh,

0:25:12.800 --> 0:25:14.120
<v Speaker 1>at some point I'm gonna playing Chowl.

0:25:14.320 --> 0:25:14.520
<v Speaker 2>Yeah.

0:25:14.600 --> 0:25:16.960
<v Speaker 1>Like the fact that the first person that you work

0:25:17.040 --> 0:25:21.199
<v Speaker 1>that you are playing as is Sarah. Uh. Lets you

0:25:21.280 --> 0:25:23.760
<v Speaker 1>know how this game is going to really interestingly subvert

0:25:23.800 --> 0:25:25.440
<v Speaker 1>your expectations of video games.

0:25:25.480 --> 0:25:27.960
<v Speaker 2>I totally agree because also, like when I was first

0:25:28.000 --> 0:25:30.760
<v Speaker 2>playing it, I remember kind of thinking like, oh, well,

0:25:30.800 --> 0:25:34.280
<v Speaker 2>I haven't heard his name yet. Maybe This is actually

0:25:34.400 --> 0:25:37.000
<v Speaker 2>like Ellie's origin, and I didn't know about the time

0:25:37.119 --> 0:25:39.520
<v Speaker 2>job for anything, so I'm like, where could he be?

0:25:39.640 --> 0:25:41.679
<v Speaker 2>What's going on? And what I love about this is

0:25:41.720 --> 0:25:44.200
<v Speaker 2>like it has to do, like you said, a really

0:25:44.200 --> 0:25:49.600
<v Speaker 2>hard job. It essentially has to teach you what you

0:25:49.720 --> 0:25:52.440
<v Speaker 2>need to know about how to use the buttons, how

0:25:52.480 --> 0:25:55.520
<v Speaker 2>to move, how to interact, but in a way that

0:25:55.680 --> 0:25:59.320
<v Speaker 2>isn't an exposition dump and it doesn't have the it

0:25:59.359 --> 0:26:01.480
<v Speaker 2>doesn't have the kind of get out of like a

0:26:01.600 --> 0:26:03.520
<v Speaker 2>I remember with God of War. They'll just kind of

0:26:03.520 --> 0:26:05.040
<v Speaker 2>be like hit this button, hit this button, hit this

0:26:05.080 --> 0:26:06.920
<v Speaker 2>but y you can do it because you're like fighting

0:26:06.920 --> 0:26:09.639
<v Speaker 2>a demogrgan or a Titan or something, so it doesn't

0:26:09.640 --> 0:26:11.879
<v Speaker 2>feel odd because you're in that fighting game mood. But

0:26:12.000 --> 0:26:15.719
<v Speaker 2>here they're still building up to that big horrific reveal

0:26:15.760 --> 0:26:18.920
<v Speaker 2>and that big kind of tragic cold open, so it's

0:26:19.000 --> 0:26:21.840
<v Speaker 2>really interesting to kind of be walking around and they

0:26:21.840 --> 0:26:23.560
<v Speaker 2>want you to explore the room. That's one of my

0:26:23.600 --> 0:26:26.720
<v Speaker 2>favorite things about this game is it has that puzzle

0:26:27.400 --> 0:26:31.800
<v Speaker 2>element to it, like, yeah, this time I definitely found

0:26:31.840 --> 0:26:34.119
<v Speaker 2>different things. There's all different things you can interact with,

0:26:34.160 --> 0:26:36.439
<v Speaker 2>but this was the first time I think when I

0:26:36.480 --> 0:26:39.040
<v Speaker 2>was replaying it for the for the pod, where in

0:26:39.080 --> 0:26:41.199
<v Speaker 2>the bathroom there's a newspaper and when you pick up

0:26:41.200 --> 0:26:45.040
<v Speaker 2>the newspaper, the newspaper talks about how all these people

0:26:45.080 --> 0:26:48.320
<v Speaker 2>are getting sick and there's this bar, and you're like, oh, okay,

0:26:48.359 --> 0:26:51.240
<v Speaker 2>so this is a world where something weird has been

0:26:51.280 --> 0:26:53.320
<v Speaker 2>going on, but they never really saw it going this

0:26:53.359 --> 0:26:55.640
<v Speaker 2>way because you don't, right, we've lived it. Now it's

0:26:55.640 --> 0:26:59.520
<v Speaker 2>like you think it's gonna be okay, and uh yeah.

0:26:59.600 --> 0:27:03.560
<v Speaker 2>It's just such an immersive and interesting situation. And it's

0:27:03.680 --> 0:27:08.240
<v Speaker 2>very smart foreshadowing because immedia, it is immediately like, oh,

0:27:08.280 --> 0:27:10.520
<v Speaker 2>you won't just be playing as Joel. Get ready to

0:27:10.600 --> 0:27:13.120
<v Speaker 2>play and see this world through a kid's eyes, because

0:27:13.119 --> 0:27:14.960
<v Speaker 2>that's like a large pot of what you're going to

0:27:15.040 --> 0:27:15.480
<v Speaker 2>need to do.

0:27:16.280 --> 0:27:20.840
<v Speaker 1>It also subverts your concept, or at least my concept,

0:27:20.960 --> 0:27:26.120
<v Speaker 1>of what playing a video game means, because I think

0:27:26.119 --> 0:27:29.919
<v Speaker 1>in for much of the Last of Us, for like,

0:27:30.160 --> 0:27:33.080
<v Speaker 1>you know, I would say seventy percent of the game,

0:27:33.400 --> 0:27:36.600
<v Speaker 1>you're barely playing a video game. What I mean by

0:27:36.600 --> 0:27:40.160
<v Speaker 1>that is, you know, a video game is interactive, you're

0:27:40.200 --> 0:27:42.440
<v Speaker 1>playing as a character, right, But I think the way

0:27:42.440 --> 0:27:46.359
<v Speaker 1>most of us think of that is you're controlling this

0:27:46.600 --> 0:27:48.680
<v Speaker 1>you know, set of pixels, but you're making the decisions.

0:27:48.680 --> 0:27:51.159
<v Speaker 1>You're doing all the things. The last of us is

0:27:51.200 --> 0:27:54.480
<v Speaker 1>not that you are on rails. You are making certain

0:27:54.520 --> 0:27:58.840
<v Speaker 1>decisions in moments of action when you're taking on you know,

0:28:00.640 --> 0:28:04.200
<v Speaker 1>or fireflies are infected about how to move through the world,

0:28:04.280 --> 0:28:07.639
<v Speaker 1>about you know, like what to craft and how and

0:28:07.720 --> 0:28:11.480
<v Speaker 1>whether to either kill an enemy or sneak by them.

0:28:12.000 --> 0:28:17.000
<v Speaker 1>But Joel is going where he's going. Yeah, and you

0:28:17.040 --> 0:28:18.480
<v Speaker 1>can do nothing about that.

0:28:18.880 --> 0:28:22.240
<v Speaker 2>Yeah. I think it's one of the most interesting things

0:28:22.280 --> 0:28:26.560
<v Speaker 2>on this replay is like I understand in hindsight and

0:28:26.600 --> 0:28:28.920
<v Speaker 2>this is like on this is like knowing the lottery

0:28:29.000 --> 0:28:30.760
<v Speaker 2>numbers after you've already won. So this is not some

0:28:30.880 --> 0:28:34.080
<v Speaker 2>deep insight, but like I can see how part of

0:28:34.119 --> 0:28:38.200
<v Speaker 2>the reason that people loved this and how it got

0:28:38.280 --> 0:28:41.200
<v Speaker 2>so many new people into Triple A Gaming is this

0:28:41.560 --> 0:28:43.480
<v Speaker 2>is essentially a movie.

0:28:43.520 --> 0:28:44.320
<v Speaker 1>Yeah, it's a movie.

0:28:44.400 --> 0:28:47.440
<v Speaker 2>It feels like you're walking through a movie. Yeah, It's

0:28:47.560 --> 0:28:49.200
<v Speaker 2>like what if you were in a movie and you

0:28:49.200 --> 0:28:50.840
<v Speaker 2>could look at some things on the wall, or you

0:28:50.840 --> 0:28:53.840
<v Speaker 2>could occasionally feel like you're making a moral decision for

0:28:53.880 --> 0:28:57.360
<v Speaker 2>your character. But especially in this early stuff, you know

0:28:57.440 --> 0:28:59.800
<v Speaker 2>you will have people there guiding you where you need

0:28:59.840 --> 0:29:01.360
<v Speaker 2>to go. Even if you try and go in a

0:29:01.360 --> 0:29:05.000
<v Speaker 2>different direction and explore something, you will end up back

0:29:05.000 --> 0:29:06.520
<v Speaker 2>on the path that you need to be on because

0:29:06.560 --> 0:29:09.440
<v Speaker 2>there is a story that the creators wanted to tell.

0:29:09.480 --> 0:29:13.959
<v Speaker 2>And that might sound like it's constricting or you know,

0:29:14.360 --> 0:29:17.640
<v Speaker 2>it keeps you from exploring the world, but that's not

0:29:17.680 --> 0:29:20.520
<v Speaker 2>how it feels at all. And also the reason that

0:29:20.640 --> 0:29:22.800
<v Speaker 2>in this case I can definitely say that putting you

0:29:22.800 --> 0:29:24.760
<v Speaker 2>on those rails is right is because the story that

0:29:24.880 --> 0:29:28.120
<v Speaker 2>it tells is just so great and it has like

0:29:28.320 --> 0:29:30.720
<v Speaker 2>one of the best payoffs kind of.

0:29:30.640 --> 0:29:37.600
<v Speaker 1>All incredibly compelling. So, as Rosie mentioned, now the game

0:29:37.680 --> 0:29:40.640
<v Speaker 1>is asking us as Sarah to kind of explore the

0:29:40.640 --> 0:29:42.640
<v Speaker 1>world for the first time. And then the first piece

0:29:42.680 --> 0:29:44.560
<v Speaker 1>of this world that we can explore is Sarah's room,

0:29:44.640 --> 0:29:49.840
<v Speaker 1>and it is a typical teenage girls room, posters, magazine covers,

0:29:49.880 --> 0:29:52.840
<v Speaker 1>tacks to the wall as a boombox, lots of CDs,

0:29:52.880 --> 0:29:56.640
<v Speaker 1>it is twenty thirteen, there's a little TV, there's a

0:29:56.760 --> 0:29:59.960
<v Speaker 1>dresser with lots of little personal knickknacks and items and things,

0:30:00.360 --> 0:30:03.640
<v Speaker 1>and on top of the dresser we see a triangle

0:30:03.680 --> 0:30:06.040
<v Speaker 1>symbol draws us forward, and now all of a sudden

0:30:06.080 --> 0:30:08.280
<v Speaker 1>we understand, Okay, this is how we read things in

0:30:08.320 --> 0:30:10.200
<v Speaker 1>this world, so you can press it to read it.

0:30:10.600 --> 0:30:14.320
<v Speaker 1>And it's Sarah's birthday card for Joel, which she forgot

0:30:14.360 --> 0:30:16.280
<v Speaker 1>to give him. She says, I forgot to give him this.

0:30:16.800 --> 0:30:22.680
<v Speaker 1>And the cover is a green dinosaur, which is really

0:30:22.720 --> 0:30:26.560
<v Speaker 1>wonderful in retrospect, as I was kind of replaying, because

0:30:27.040 --> 0:30:31.200
<v Speaker 1>it's this first suggestion of one of the game's kind

0:30:31.240 --> 0:30:36.320
<v Speaker 1>of deep themes, which is extinction and life continuing. You know,

0:30:36.360 --> 0:30:40.520
<v Speaker 1>here's this image of a dinosaur, this creature that ruled

0:30:40.560 --> 0:30:42.760
<v Speaker 1>the earth for hundreds and hundreds and hundreds of millions

0:30:42.800 --> 0:30:44.440
<v Speaker 1>of years and died out, and now life goes on,

0:30:44.520 --> 0:30:48.360
<v Speaker 1>but in a different form. And it almost leads you

0:30:48.400 --> 0:30:53.000
<v Speaker 1>to wonder if Joel, you know, long after Joel and

0:30:53.040 --> 0:30:56.200
<v Speaker 1>Ellie and Tommy and Marlene and everybody have died out,

0:30:56.280 --> 0:31:01.640
<v Speaker 1>if the infected create some kind of world of their own, maybe,

0:31:01.800 --> 0:31:06.120
<v Speaker 1>you know, maybe there will be something else, some kind

0:31:06.160 --> 0:31:10.240
<v Speaker 1>of other thing that arises thousands and millions of years

0:31:10.280 --> 0:31:10.840
<v Speaker 1>after this.

0:31:11.080 --> 0:31:13.760
<v Speaker 2>I think that's one of the most prescient questions that

0:31:13.840 --> 0:31:17.360
<v Speaker 2>this game raises, And there's a really brilliant book by

0:31:17.400 --> 0:31:20.080
<v Speaker 2>Mike Kerrey called The Girl with All the Gifts, which

0:31:20.120 --> 0:31:24.720
<v Speaker 2>is very funny because the plotline and arcs of the

0:31:24.800 --> 0:31:27.920
<v Speaker 2>characters are very similar to the Last of Us. And

0:31:28.280 --> 0:31:31.320
<v Speaker 2>it came out like kind of just almost a year afterwards,

0:31:31.320 --> 0:31:33.040
<v Speaker 2>but obviously the book had been being written for a

0:31:33.080 --> 0:31:35.960
<v Speaker 2>long time. Mike Kerry's an X Men writer, just a

0:31:36.000 --> 0:31:41.560
<v Speaker 2>great guy, and that book basically takes that question and

0:31:41.760 --> 0:31:46.640
<v Speaker 2>adds this lens of who gets to choose who lives

0:31:46.680 --> 0:31:49.280
<v Speaker 2>and dies in those situations and what does it mean?

0:31:49.320 --> 0:31:53.520
<v Speaker 2>And it's so profound and I just cannot recommend that

0:31:53.560 --> 0:31:56.960
<v Speaker 2>book enough as a companion to the game and the show.

0:31:57.000 --> 0:31:58.760
<v Speaker 2>When you start watching it, and it's one of those

0:31:58.800 --> 0:32:02.320
<v Speaker 2>it's like Deep Impact and and Volcano and Dante's Peak,

0:32:02.360 --> 0:32:04.440
<v Speaker 2>but in this way, it happened with a video game

0:32:04.440 --> 0:32:06.640
<v Speaker 2>in a book, and it's I love that you pointed out,

0:32:06.640 --> 0:32:08.640
<v Speaker 2>because I think that's such a good get and kind

0:32:08.640 --> 0:32:12.840
<v Speaker 2>of that interesting notion as well of dinosaurs were terrifying

0:32:13.080 --> 0:32:17.760
<v Speaker 2>and they were all conquering, they ran the earth, and

0:32:17.840 --> 0:32:21.280
<v Speaker 2>now years later they are on a birthday card.

0:32:21.440 --> 0:32:22.960
<v Speaker 1>Yeah. A little cartoons and little.

0:32:22.720 --> 0:32:25.600
<v Speaker 2>Cute birthday card like and to imagine how far you'd

0:32:25.640 --> 0:32:28.800
<v Speaker 2>have to go into the future for the infected to

0:32:28.880 --> 0:32:32.200
<v Speaker 2>become something that was less scary and more of just

0:32:32.240 --> 0:32:35.920
<v Speaker 2>like a story people tell is really interesting to think about.

0:32:37.040 --> 0:32:40.200
<v Speaker 1>The overt theme, of course, of the game is love,

0:32:40.480 --> 0:32:43.600
<v Speaker 1>what you would do for someone you love. How love

0:32:43.680 --> 0:32:47.040
<v Speaker 1>and selfishness can kind of be the same thing. And

0:32:47.080 --> 0:32:50.080
<v Speaker 1>here we get a taste of how much Sarah loves

0:32:50.080 --> 0:32:52.520
<v Speaker 1>her dad. She's written in the card, Dear dad, Let's

0:32:52.560 --> 0:32:55.240
<v Speaker 1>see you're never around. You hate the music I'm into.

0:32:55.440 --> 0:32:58.600
<v Speaker 1>You practically despise the music I like, and yet somehow

0:32:58.600 --> 0:33:00.479
<v Speaker 1>you still manage to be the best dad year. How

0:33:00.480 --> 0:33:04.800
<v Speaker 1>do you do that? Heavy birthday pops? Love Sarah? Sarah,

0:33:05.000 --> 0:33:06.680
<v Speaker 1>Now you can do you can linger in the room,

0:33:06.720 --> 0:33:09.240
<v Speaker 1>you can do anything. But here we go into the

0:33:09.320 --> 0:33:12.160
<v Speaker 1>darkened house and Sarah's looking for a dad. She's calling

0:33:12.200 --> 0:33:14.200
<v Speaker 1>out for him as you move her through the through

0:33:14.240 --> 0:33:16.840
<v Speaker 1>the empty house, you go into the bedroom. Jol's bedroom

0:33:16.880 --> 0:33:19.880
<v Speaker 1>is empty. But here and this game is so good

0:33:19.920 --> 0:33:23.000
<v Speaker 1>at delivering exposition and little dribs and drabs, and at

0:33:23.200 --> 0:33:26.959
<v Speaker 1>just the right time, here his TV is on and

0:33:27.000 --> 0:33:30.120
<v Speaker 1>you get a local news report where the reporter is

0:33:30.120 --> 0:33:33.120
<v Speaker 1>standing on a local street in Austin and is delivering

0:33:33.200 --> 0:33:35.400
<v Speaker 1>terrifying news. There's some kind of infection on the loose.

0:33:35.880 --> 0:33:41.320
<v Speaker 1>Those who are stricken are apparently, you know, overcome by

0:33:42.040 --> 0:33:48.560
<v Speaker 1>aggressive and violent instincts. Behind the reporter, you see soldiers

0:33:49.040 --> 0:33:52.680
<v Speaker 1>patrolling scenes of destruction. There's buildings on fire behind them

0:33:53.560 --> 0:33:56.840
<v Speaker 1>that Sarah clearly, you know, seems to recognize that place.

0:33:56.880 --> 0:33:58.479
<v Speaker 1>She says, oh that, you know, I know where that is.

0:33:59.360 --> 0:34:01.720
<v Speaker 1>And you see the time, it's one forty seven am.

0:34:01.760 --> 0:34:04.560
<v Speaker 1>And then before anything else can happen, there's an explosion.

0:34:04.560 --> 0:34:08.640
<v Speaker 1>The building behind them explodes, and the news cuts short.

0:34:08.880 --> 0:34:12.320
<v Speaker 1>All of a sudden, there's dogs barking outside, which perfectly

0:34:12.400 --> 0:34:15.120
<v Speaker 1>leads you to turn Sarah towards the window, and you

0:34:15.160 --> 0:34:17.200
<v Speaker 1>look out the window, which has this view of some

0:34:17.280 --> 0:34:20.040
<v Speaker 1>woods and then the downtown Austin skyline behind it, and

0:34:20.080 --> 0:34:24.720
<v Speaker 1>there's just starting to be fires blooming behind those trees

0:34:24.760 --> 0:34:27.760
<v Speaker 1>somewhere in the city, and things are starting to get scary.

0:34:27.800 --> 0:34:30.520
<v Speaker 1>At this point, if you're playing this for the first time,

0:34:31.200 --> 0:34:33.080
<v Speaker 1>the hair is on the back of your neck. They're

0:34:33.160 --> 0:34:35.520
<v Speaker 1>just starting to stand up because this is a totally

0:34:35.600 --> 0:34:39.000
<v Speaker 1>darkened house, and that feeling of vulnerability is one that

0:34:39.080 --> 0:34:42.759
<v Speaker 1>this game will absolutely weaponize, and you're feeling it right

0:34:42.760 --> 0:34:44.319
<v Speaker 1>now for sure, for the first time.

0:34:44.640 --> 0:34:45.080
<v Speaker 2>Absolutely.

0:34:45.160 --> 0:34:49.840
<v Speaker 1>Sarah goes pilot Sarah downstairs. Now there's police cars racing

0:34:50.000 --> 0:34:53.320
<v Speaker 1>down the street. You see Joel's phone on the kitchen counter,

0:34:53.360 --> 0:34:56.239
<v Speaker 1>another triangle, you can pick it up. Sarah goes to

0:34:56.280 --> 0:34:58.640
<v Speaker 1>pick it up. Eight missed calls, a bunch of texts

0:34:58.640 --> 0:35:04.160
<v Speaker 1>from Tommy. No. Also clearly that just happened. The cell

0:35:04.200 --> 0:35:08.360
<v Speaker 1>phone towers just went down. It's happening fast, whatever is happening,

0:35:08.920 --> 0:35:10.560
<v Speaker 1>and you can see if the text that Tommy is

0:35:10.640 --> 0:35:13.760
<v Speaker 1>racing towards the house. There's a note on the fridge

0:35:13.760 --> 0:35:17.000
<v Speaker 1>for Sarah on the stationary of Sarah's youth soccer team.

0:35:17.040 --> 0:35:19.000
<v Speaker 1>It says, I'm going to be home late tonight. Go

0:35:19.000 --> 0:35:21.640
<v Speaker 1>ahead and order fruit. See you in the morning, dad.

0:35:23.440 --> 0:35:29.200
<v Speaker 1>Another nice character note. Just contrast the kind of like

0:35:29.320 --> 0:35:34.560
<v Speaker 1>loving and warm writing style of Sarah with Joel's very

0:35:34.680 --> 0:35:38.920
<v Speaker 1>utilitarian note here, no love, just see you in the morning, Dad,

0:35:39.920 --> 0:35:45.200
<v Speaker 1>and it leads you to imagine the regret that Joel

0:35:45.480 --> 0:35:48.319
<v Speaker 1>surely feels. As the rest of this story picks up

0:35:48.360 --> 0:35:51.920
<v Speaker 1>decades later, there's a light on in the study, and

0:35:52.000 --> 0:35:56.160
<v Speaker 1>this game uses light so well because that draws our attention. Again,

0:35:57.600 --> 0:36:01.440
<v Speaker 1>Sarah walks towards the light, which is again Joel's office,

0:36:01.600 --> 0:36:04.000
<v Speaker 1>and you walk by these sliding doors and you hear

0:36:05.280 --> 0:36:07.239
<v Speaker 1>there's like a strangled sound. I don't know how you

0:36:07.280 --> 0:36:09.040
<v Speaker 1>would describe it. Yeah, but it's kind of like half

0:36:09.040 --> 0:36:09.480
<v Speaker 1>a bark.

0:36:09.600 --> 0:36:13.640
<v Speaker 2>It's a kind of doctor roll strangled. It's horrible. It's

0:36:13.640 --> 0:36:16.560
<v Speaker 2>the kind of noise where where if you were in

0:36:16.600 --> 0:36:19.359
<v Speaker 2>a horror movie, you would say, I'm not going in there.

0:36:19.800 --> 0:36:21.879
<v Speaker 2>It's the nope noise. You're like, no. But she needs

0:36:21.880 --> 0:36:24.480
<v Speaker 2>to find her dad. She's worried. She's a kid. And

0:36:25.120 --> 0:36:30.000
<v Speaker 2>that's another thing that's very smart about this game, because

0:36:30.000 --> 0:36:34.960
<v Speaker 2>it puts you in vulnerable positions, but that take you

0:36:35.040 --> 0:36:39.000
<v Speaker 2>out of your own comfort zone. Everyone can remember being

0:36:39.040 --> 0:36:41.200
<v Speaker 2>a kid and creeping around your house and oh there's

0:36:41.200 --> 0:36:43.000
<v Speaker 2>a power cart, or you don't know where your parents are,

0:36:43.080 --> 0:36:45.840
<v Speaker 2>if you're woken up after a nightmare, and this opening

0:36:46.000 --> 0:36:48.919
<v Speaker 2>very much invokes that, so much so that I'm sure

0:36:48.960 --> 0:36:50.520
<v Speaker 2>there were players who were like, oh, I don't want

0:36:50.520 --> 0:36:52.200
<v Speaker 2>to play as a little girl. But I think by

0:36:52.239 --> 0:36:55.440
<v Speaker 2>the time you get to this and you're creeping slowly

0:36:55.520 --> 0:36:58.080
<v Speaker 2>into that room and you've heard that noise. I think

0:36:58.120 --> 0:37:02.440
<v Speaker 2>everyone at that point is in You're starting to feel

0:37:02.480 --> 0:37:04.600
<v Speaker 2>the fear, so that.

0:37:04.600 --> 0:37:07.920
<v Speaker 1>Noise happens, and you know, if you're a player like me,

0:37:08.480 --> 0:37:11.239
<v Speaker 1>you have Sarah look outside because you're standing right next

0:37:11.239 --> 0:37:14.200
<v Speaker 1>to a sliding glass door and the outside of the

0:37:14.239 --> 0:37:17.040
<v Speaker 1>backyard is completely dark, but very ominously like there's this

0:37:17.520 --> 0:37:20.239
<v Speaker 1>tire swing back there and it's moving and not like

0:37:20.320 --> 0:37:23.840
<v Speaker 1>the wind moved it, but moved, like moving like something

0:37:23.920 --> 0:37:26.359
<v Speaker 1>ran by it. Just as you enter the study, there's

0:37:26.360 --> 0:37:28.680
<v Speaker 1>another sliding guest glass door in there. It's open, and

0:37:28.760 --> 0:37:31.279
<v Speaker 1>Joel comes running and he's fucking panicked and he's like,

0:37:31.280 --> 0:37:35.680
<v Speaker 1>did anyone come in here? He's immediately goes over, gets

0:37:35.680 --> 0:37:38.000
<v Speaker 1>his gun from the jor he's loading it. He's telling

0:37:38.040 --> 0:37:40.359
<v Speaker 1>Sarah to stay away from the doors. Sarah's like, what's

0:37:40.640 --> 0:37:44.359
<v Speaker 1>going on? Joel says, the neighbors, the Cooper's they're sick.

0:37:44.440 --> 0:37:48.359
<v Speaker 1>Something's not right with them. And then before anything more

0:37:48.400 --> 0:37:51.160
<v Speaker 1>can happen, and here is like a scene that feels

0:37:51.239 --> 0:37:55.759
<v Speaker 1>ripped from twenty eight days later. Jimmy, who we am

0:37:55.719 --> 0:37:58.200
<v Speaker 1>me at? Who I believe to be Jimmy Cooper, that neighbor,

0:37:58.280 --> 0:38:02.120
<v Speaker 1>but now infect it. Yeah, just crashes through the glass

0:38:02.160 --> 0:38:04.400
<v Speaker 1>door and Joel has to shoot him. Joel has to

0:38:04.400 --> 0:38:06.759
<v Speaker 1>shoot him dead. Now Sarah is in a state of

0:38:06.800 --> 0:38:10.719
<v Speaker 1>absolute shock. Joel takes Sarah to the driveway. Tommy's there

0:38:11.280 --> 0:38:14.040
<v Speaker 1>just in the nick of time. Everybody jumps in and

0:38:14.120 --> 0:38:17.040
<v Speaker 1>now it's a race. The idea is it seems to

0:38:17.080 --> 0:38:21.200
<v Speaker 1>be take Highway seventy one kind of out of town

0:38:21.640 --> 0:38:24.799
<v Speaker 1>because the army is setting up roadblocks in order to

0:38:24.880 --> 0:38:27.680
<v Speaker 1>quarantine the area, probably wisely, so no one can get

0:38:27.680 --> 0:38:29.560
<v Speaker 1>I don't want the infection to spread, but they want

0:38:29.560 --> 0:38:31.400
<v Speaker 1>to be on the other side of that. But because clearly,

0:38:31.480 --> 0:38:34.440
<v Speaker 1>like the infected, it's not like they're just sick in

0:38:34.480 --> 0:38:39.600
<v Speaker 1>their bedrooms. They're running around doing really bad shit. This

0:38:39.680 --> 0:38:42.560
<v Speaker 1>is haro. This is when you're just like, oh fuck.

0:38:42.600 --> 0:38:45.799
<v Speaker 2>Yeah, and this does and another great exposition. They're in

0:38:45.840 --> 0:38:47.600
<v Speaker 2>the car. What does that mean. That means they can

0:38:47.640 --> 0:38:50.400
<v Speaker 2>listen to the radio, so you're getting this information. And

0:38:50.480 --> 0:38:52.600
<v Speaker 2>what I loved about this that I was doing the

0:38:52.640 --> 0:38:54.560
<v Speaker 2>whole time, when I was playing at this time, you

0:38:54.640 --> 0:38:56.960
<v Speaker 2>mentioned the you know this lighting glass doors and the

0:38:57.000 --> 0:38:59.400
<v Speaker 2>ability to look out of windows. That's something that blows

0:38:59.400 --> 0:39:02.680
<v Speaker 2>my mind in this game because there is constantly things

0:39:02.760 --> 0:39:05.680
<v Speaker 2>going on, whether it's the wind blowing something or building

0:39:05.680 --> 0:39:09.120
<v Speaker 2>blowing up. And when you're in the car, you can

0:39:09.280 --> 0:39:13.000
<v Speaker 2>in the backseat as Sarah just constantly turn around and

0:39:13.080 --> 0:39:15.440
<v Speaker 2>the look and I was getting so scared, like I

0:39:15.440 --> 0:39:17.840
<v Speaker 2>would see something and I was sure that somebody was

0:39:17.880 --> 0:39:19.360
<v Speaker 2>going to come and get me. And you can really

0:39:19.360 --> 0:39:22.840
<v Speaker 2>build up that tension as they're kind of leading you

0:39:22.920 --> 0:39:25.360
<v Speaker 2>through like oh this is bad, but you're there and

0:39:25.400 --> 0:39:28.080
<v Speaker 2>you can hear them talking, and you can really just

0:39:28.120 --> 0:39:31.200
<v Speaker 2>be looking at the You see people packing up their cars,

0:39:31.239 --> 0:39:33.520
<v Speaker 2>you see things like exploding in the background, you see

0:39:33.560 --> 0:39:36.440
<v Speaker 2>things running across the road. It's wonderful.

0:39:37.560 --> 0:39:39.799
<v Speaker 1>About that exposition. We get some more of it now

0:39:39.840 --> 0:39:44.160
<v Speaker 1>where Tommy is. You know, Tommy's super excited. He is

0:39:44.239 --> 0:39:47.680
<v Speaker 1>saying that whatever's happening here, this outbreak, they thought it

0:39:47.719 --> 0:39:49.799
<v Speaker 1>was just happening in the Southwest, but appears to be

0:39:49.840 --> 0:39:52.359
<v Speaker 1>happening all over the country, and that leads you to wonder,

0:39:52.480 --> 0:39:56.160
<v Speaker 1>like is it happening all around the world. Sarah asks

0:39:56.560 --> 0:39:58.680
<v Speaker 1>the question that I think anyone would ask, which is like,

0:39:58.719 --> 0:40:01.480
<v Speaker 1>are we sick? Is it us? And then Joel and

0:40:01.520 --> 0:40:04.320
<v Speaker 1>you can feel his that that kind of like fatherly

0:40:04.400 --> 0:40:07.960
<v Speaker 1>impulse to like shield his child from anything troubling or

0:40:08.040 --> 0:40:11.600
<v Speaker 1>dangerous or worrying. He's like, no, no, no, no, we're fine. Uh,

0:40:11.800 --> 0:40:14.040
<v Speaker 1>it's just the people in the city that are sick.

0:40:14.080 --> 0:40:15.080
<v Speaker 1>Now we're fine.

0:40:15.120 --> 0:40:15.319
<v Speaker 2>Yeah.

0:40:15.360 --> 0:40:20.080
<v Speaker 1>Yeah, Jimmy Cooper worked in the city. He's he mentions.

0:40:20.440 --> 0:40:24.719
<v Speaker 1>So now it's letting you know where Joel's head is at.

0:40:25.960 --> 0:40:31.319
<v Speaker 2>They established Joel's in this moment. They're like, don't get

0:40:31.320 --> 0:40:33.120
<v Speaker 2>it twisted. This is who this man is.

0:40:33.640 --> 0:40:36.000
<v Speaker 1>Yeah. So there's a family on the road with kids

0:40:36.200 --> 0:40:39.439
<v Speaker 1>and they look scared, and Tommy's like, oh, we should stop,

0:40:39.440 --> 0:40:42.239
<v Speaker 1>and Joel's like, no, no, no, no, you keep going. We're

0:40:42.280 --> 0:40:45.080
<v Speaker 1>not stopping. Somebody will come for them. You haven't seen

0:40:45.120 --> 0:40:47.120
<v Speaker 1>what I've seen. And we keep going, and here you

0:40:47.400 --> 0:40:50.000
<v Speaker 1>get you know again, this is who Joel is. When

0:40:50.080 --> 0:40:53.160
<v Speaker 1>Joel is with the people he cares about, everybody else

0:40:53.160 --> 0:40:54.879
<v Speaker 1>can go fuck off. He doesn't care.

0:40:55.080 --> 0:40:57.600
<v Speaker 2>There's a great line that I love where Tommy's like,

0:40:57.960 --> 0:41:01.160
<v Speaker 2>but they have kids, and he said so do yeah,

0:41:01.160 --> 0:41:04.240
<v Speaker 2>And you know, Sarah is very hurt by this moment.

0:41:04.360 --> 0:41:06.719
<v Speaker 2>Kind of for a couple of minutes. Afterwards she will

0:41:06.760 --> 0:41:08.680
<v Speaker 2>say like, we should have helped them, We should have

0:41:08.719 --> 0:41:12.560
<v Speaker 2>helped them, alas probably bad for that family they didn't

0:41:12.600 --> 0:41:17.200
<v Speaker 2>get in the car. Honestly, I mean, there's no there's

0:41:17.200 --> 0:41:18.080
<v Speaker 2>no good version.

0:41:18.480 --> 0:41:23.480
<v Speaker 1>There's no good version. There's zero good version. Right yeah, yeah, Uh.

0:41:23.560 --> 0:41:26.839
<v Speaker 1>Tommy runs into the back of a gigantic traffic jam.

0:41:26.960 --> 0:41:30.799
<v Speaker 1>Everybody who is awake at this time has been listening

0:41:30.840 --> 0:41:32.480
<v Speaker 1>to the news is trying to do the exact same

0:41:32.520 --> 0:41:34.759
<v Speaker 1>thing they're doing, which a nightmak at a time, it's

0:41:34.760 --> 0:41:38.080
<v Speaker 1>a nightmare. And then right in front of them, as

0:41:38.080 --> 0:41:41.719
<v Speaker 1>they're wondering, okay, what do we do, somebody gets out

0:41:41.760 --> 0:41:44.359
<v Speaker 1>of their car to yell, hey, like, what's the hold up?

0:41:44.400 --> 0:41:48.560
<v Speaker 1>And they're just immediately set upon by infected. It's horrific.

0:41:49.520 --> 0:41:53.279
<v Speaker 1>They get out of there, Tommy accelerates, They take a

0:41:53.360 --> 0:41:56.560
<v Speaker 1>turn and end up like on a on the streets

0:41:56.760 --> 0:42:01.520
<v Speaker 1>of like a town that looks like like a a village,

0:42:01.560 --> 0:42:06.680
<v Speaker 1>like on the outskirts of Austin somewhere. There's people running everywhere,

0:42:07.000 --> 0:42:09.359
<v Speaker 1>and then they get t boned by another vehicle and

0:42:09.400 --> 0:42:10.400
<v Speaker 1>everything goes black.

0:42:10.520 --> 0:42:12.480
<v Speaker 2>Yeah. I just also want to say, before this, there's

0:42:12.520 --> 0:42:16.600
<v Speaker 2>another really great Joel is like sucks moment, which is

0:42:16.680 --> 0:42:20.160
<v Speaker 2>like they're they're outside like a movie theater and all

0:42:20.200 --> 0:42:21.960
<v Speaker 2>these people are running like you said, and they're kind

0:42:21.960 --> 0:42:25.920
<v Speaker 2>of stuck and and and he's just like he's just

0:42:25.920 --> 0:42:28.600
<v Speaker 2>like driving them. He's like running over and Tommy's like, no,

0:42:28.680 --> 0:42:30.680
<v Speaker 2>I'm not gonna do that, Like I can't do that.

0:42:30.800 --> 0:42:32.799
<v Speaker 2>There's and He's like, there's people behind us too, and

0:42:32.840 --> 0:42:35.520
<v Speaker 2>Joel's like, I don't care, just reverse, like just kill them.

0:42:35.760 --> 0:42:39.960
<v Speaker 2>Like you said, it's a tunnel vision of protecting the

0:42:40.000 --> 0:42:43.840
<v Speaker 2>people that he loves to the point where he's built

0:42:43.880 --> 0:42:46.640
<v Speaker 2>up these walls towards everyone else, and everyone else, like

0:42:46.680 --> 0:42:48.440
<v Speaker 2>you said, can just go get fucked. But yeah, they

0:42:48.480 --> 0:42:50.480
<v Speaker 2>t boned. It's all going badly for them.

0:42:50.960 --> 0:42:52.440
<v Speaker 1>And by the way, this is where you know we're

0:42:52.440 --> 0:42:54.960
<v Speaker 1>gonna be talking about this all throughout. I'm sure the

0:42:55.040 --> 0:42:57.840
<v Speaker 1>show are coverage of the show and are continuing coverage

0:42:57.840 --> 0:43:01.479
<v Speaker 1>of the game, because it's the central question of this

0:43:02.239 --> 0:43:06.560
<v Speaker 1>story is if you had to give up someone you

0:43:06.680 --> 0:43:11.000
<v Speaker 1>love to allow everyone else to have everyone they love

0:43:11.560 --> 0:43:16.600
<v Speaker 1>cured free of the dangers of this terrible cordyceps fungus

0:43:16.640 --> 0:43:20.719
<v Speaker 1>that's out there to basically save the world. Would you

0:43:20.760 --> 0:43:24.480
<v Speaker 1>do it? And the answer for Joel, and you know

0:43:24.560 --> 0:43:28.120
<v Speaker 1>it from the first minutes you play this game, before

0:43:28.120 --> 0:43:30.080
<v Speaker 1>you even start playing, as in, what you're about to

0:43:30.120 --> 0:43:33.880
<v Speaker 1>do is no. So after we wake up from this

0:43:33.960 --> 0:43:38.840
<v Speaker 1>car crash, we're now Joel. We've the players taking control

0:43:38.880 --> 0:43:44.399
<v Speaker 1>of Joel, and we crawl out of the wreck and

0:43:44.520 --> 0:43:49.280
<v Speaker 1>are immediately attacked by an infected And here again comes

0:43:49.360 --> 0:43:54.360
<v Speaker 1>the tutorial portion of this cold open. You're told you

0:43:54.400 --> 0:43:56.560
<v Speaker 1>can hit the square button to kind of like get

0:43:56.600 --> 0:43:58.640
<v Speaker 1>the infected off you. You kind of like hammer that

0:43:58.680 --> 0:44:03.080
<v Speaker 1>square button. This is another of like a thing that

0:44:03.320 --> 0:44:05.880
<v Speaker 1>people who played the Uncharted games would be familiar with

0:44:06.000 --> 0:44:08.759
<v Speaker 1>this kind of mechanic. And again I'll point out, like

0:44:08.840 --> 0:44:11.960
<v Speaker 1>this is barely interactive. This is not you know, you're

0:44:12.000 --> 0:44:14.360
<v Speaker 1>not like you're just like button mashing. This is like

0:44:14.440 --> 0:44:18.359
<v Speaker 1>barely barely a game. And I mean that in the

0:44:18.360 --> 0:44:24.160
<v Speaker 1>most complimentary way, because it just it keeps you invested

0:44:25.000 --> 0:44:28.480
<v Speaker 1>by letting you do the most efficient and like simple thing.

0:44:29.000 --> 0:44:33.880
<v Speaker 1>So we realize now it's Pandemoni on the streets. Joel

0:44:33.960 --> 0:44:36.760
<v Speaker 1>gets Sarah out of the car. She's hurt her legs

0:44:36.800 --> 0:44:41.280
<v Speaker 1>probably broken. Joel gives Tommy the gun, picks up Sarah,

0:44:41.360 --> 0:44:43.120
<v Speaker 1>and now we're running. And at this point I don't

0:44:43.160 --> 0:44:47.560
<v Speaker 1>know about you, Rosie, but at this point, as you're

0:44:47.600 --> 0:44:51.040
<v Speaker 1>kind of maneuvering through danger and picking away through the

0:44:51.120 --> 0:44:54.440
<v Speaker 1>crowds with Tommy covering us, and you're trying to kind

0:44:54.440 --> 0:44:57.200
<v Speaker 1>of dodging infected and dodging other people, I'm this is

0:44:57.239 --> 0:45:00.080
<v Speaker 1>when the first time I played I started to think, Oh,

0:45:00.160 --> 0:45:01.799
<v Speaker 1>I think this is kind of what the game is

0:45:01.800 --> 0:45:03.439
<v Speaker 1>going to be. Yeah, this is the game.

0:45:03.520 --> 0:45:06.080
<v Speaker 2>It's right and evil. You have to submit. Yeah, it's

0:45:06.160 --> 0:45:07.840
<v Speaker 2>kind of like the Walking Dead O g out of

0:45:07.880 --> 0:45:09.760
<v Speaker 2>the city, but you're going to keep coming up against

0:45:09.800 --> 0:45:13.560
<v Speaker 2>different infected communities. But right now, it's like you're in

0:45:13.560 --> 0:45:16.480
<v Speaker 2>that town. It's very Raccoon city, Like you have to

0:45:16.480 --> 0:45:17.800
<v Speaker 2>get out, you have to survive.

0:45:19.080 --> 0:45:23.879
<v Speaker 1>Oh, how wrong we are, Uh, extremely wrong. There are

0:45:23.960 --> 0:45:26.960
<v Speaker 1>lots of horrors to be seen here on this kind

0:45:27.000 --> 0:45:29.759
<v Speaker 1>of like run to safety wherever safety could be. There

0:45:29.840 --> 0:45:36.040
<v Speaker 1>is like a gas station that explodes, there's people on fire. Uh. Joel,

0:45:36.239 --> 0:45:40.239
<v Speaker 1>Sarah and Tommy end up in an alleyway. Tommy has

0:45:40.280 --> 0:45:44.239
<v Speaker 1>to shoot an infected uh, and then Tommy ends up.

0:45:44.400 --> 0:45:48.000
<v Speaker 1>They end up cutting through like a bar with Tommy

0:45:48.040 --> 0:45:51.200
<v Speaker 1>holding the door against the infected Hodor style so that

0:45:51.320 --> 0:45:54.440
<v Speaker 1>Joel and Sarah can escape, and you end up piloting

0:45:54.520 --> 0:45:57.120
<v Speaker 1>Joel to a wooded path. There's a bunch of crash

0:45:57.239 --> 0:45:59.279
<v Speaker 1>cars here, and at the top of the path there

0:45:59.360 --> 0:46:02.880
<v Speaker 1>is a soldier who helpfully mows down the infected that

0:46:02.920 --> 0:46:07.880
<v Speaker 1>have been chasing you and Sarah. But something isn't and

0:46:07.960 --> 0:46:10.120
<v Speaker 1>you could tell that something is right because the soldier

0:46:10.200 --> 0:46:13.200
<v Speaker 1>is like, don't hold on, you stay right there, and

0:46:13.239 --> 0:46:16.799
<v Speaker 1>then confers with someone over the radio to be like, Okay,

0:46:16.840 --> 0:46:19.959
<v Speaker 1>what are we doing here, I've got like two people? Yeah,

0:46:20.080 --> 0:46:23.560
<v Speaker 1>got it, and Joel knows what's coming. The soldier opens fire,

0:46:24.120 --> 0:46:28.120
<v Speaker 1>everybody falls down the hill. Tommy shoots the soldier, putting

0:46:28.120 --> 0:46:33.800
<v Speaker 1>that thread out, but heartbreakingly, Joel crawls over to Sarah

0:46:33.840 --> 0:46:36.600
<v Speaker 1>and she's hit in the stomach and she dies in

0:46:36.680 --> 0:46:42.080
<v Speaker 1>really one of the most realistic video game deaths in

0:46:42.120 --> 0:46:46.560
<v Speaker 1>the sense that there's no fucking music, there's no you know,

0:46:46.600 --> 0:46:49.920
<v Speaker 1>there's no text on the screen. She doesn't even finish

0:46:50.000 --> 0:46:54.760
<v Speaker 1>what she's saying. She just dies, and the voice acting

0:46:54.840 --> 0:47:00.759
<v Speaker 1>is incredible. The graphics are just troublingly real, and it's

0:47:00.800 --> 0:47:01.600
<v Speaker 1>a brutal moment.

0:47:02.080 --> 0:47:07.160
<v Speaker 3>Yeah, I I I mean, there's there's so there's so

0:47:07.360 --> 0:47:11.799
<v Speaker 3>many brilliant little choices that happen for this when he's

0:47:11.840 --> 0:47:13.960
<v Speaker 3>on when the soldier is on the radio.

0:47:14.920 --> 0:47:17.120
<v Speaker 2>In case you are not as cynical as Joel and

0:47:17.160 --> 0:47:20.920
<v Speaker 2>you don't understand what's going on, he says, but one

0:47:20.960 --> 0:47:24.040
<v Speaker 2>of them's a little girl. And that's when you know.

0:47:24.960 --> 0:47:27.960
<v Speaker 2>I love this choice. Like obviously, irp Sarah like I don't.

0:47:28.000 --> 0:47:29.880
<v Speaker 2>I don't love their little kid died. In fact, as

0:47:29.960 --> 0:47:33.880
<v Speaker 2>a as I'm growing older, my my capacity for violence

0:47:34.040 --> 0:47:37.920
<v Speaker 2>is sim is lowering, and I found the replay of

0:47:37.960 --> 0:47:41.520
<v Speaker 2>the game is incredibly violent. But I love this choice

0:47:41.520 --> 0:47:44.879
<v Speaker 2>so much. I think it's the strongest choice until the end,

0:47:44.880 --> 0:47:46.560
<v Speaker 2>which has like one of my favorite kind of moral

0:47:46.640 --> 0:47:49.759
<v Speaker 2>quandary endings that I love. But I think that the

0:47:49.880 --> 0:47:54.839
<v Speaker 2>choice to have Sarah killed by the soldiers is like

0:47:54.920 --> 0:47:58.959
<v Speaker 2>the smartest choice that this game makes because it would

0:47:58.960 --> 0:48:01.560
<v Speaker 2>have been so easy for her to just die from

0:48:01.600 --> 0:48:04.640
<v Speaker 2>being killed by one of the infected. That's the nature

0:48:04.640 --> 0:48:07.520
<v Speaker 2>of zombie games. It gives them a reason to hate zombies.

0:48:07.840 --> 0:48:10.520
<v Speaker 2>Or the infected. The clickers' is like, oh, this is

0:48:10.560 --> 0:48:15.880
<v Speaker 2>really terrible, but instead it's that horror of humanity. It's like,

0:48:16.000 --> 0:48:17.880
<v Speaker 2>this is what people will do when they're put in

0:48:17.880 --> 0:48:20.680
<v Speaker 2>this situation. They won't help you, they'll follow orders and

0:48:20.680 --> 0:48:25.000
<v Speaker 2>they'll just kill a child. And it sets up how

0:48:25.080 --> 0:48:29.120
<v Speaker 2>angry Joel is. And when you're killing many many soldiers

0:48:29.120 --> 0:48:31.440
<v Speaker 2>as you do throughout the game, you're like, you know

0:48:31.480 --> 0:48:33.880
<v Speaker 2>what they shot Sarah, You're like, this is okay.

0:48:34.920 --> 0:48:39.839
<v Speaker 1>Not to mention it's all like really trenching points, and

0:48:39.880 --> 0:48:45.239
<v Speaker 1>not to mention that the soldier from a different perspective

0:48:46.239 --> 0:48:48.319
<v Speaker 1>is doing exactly what Joel does at the end of

0:48:48.320 --> 0:48:52.960
<v Speaker 1>this fucking game, which is kill the thing that is

0:48:53.120 --> 0:48:58.640
<v Speaker 1>the danger because in making that choice to take lives

0:48:58.760 --> 0:49:02.320
<v Speaker 1>because this is for the greater good. Now, in terms

0:49:02.320 --> 0:49:05.960
<v Speaker 1>of Joel, the greater good is the personal relationship that

0:49:06.040 --> 0:49:09.319
<v Speaker 1>he is going to develop with Ellie and everything else

0:49:09.360 --> 0:49:10.920
<v Speaker 1>and everybody else in the world can fuck off. For

0:49:11.000 --> 0:49:15.239
<v Speaker 1>the soldier, it's if this infection gets out, we're fucked. Like,

0:49:15.320 --> 0:49:18.359
<v Speaker 1>it's terrible for all these people. I Like, I'm not

0:49:18.480 --> 0:49:22.560
<v Speaker 1>saying it's this isn't horrible, but this infection can't get out.

0:49:22.640 --> 0:49:25.600
<v Speaker 2>No. I love that take because you know what else

0:49:26.360 --> 0:49:28.799
<v Speaker 2>that is incredibly smart that you've kind of just given

0:49:28.840 --> 0:49:32.120
<v Speaker 2>me a light bulb moment about, is like, you, we

0:49:32.239 --> 0:49:34.800
<v Speaker 2>kill so many people in this game, especially in the

0:49:34.880 --> 0:49:38.120
<v Speaker 2>Believing You are Trust Me, you kill barely any infected.

0:49:38.239 --> 0:49:40.279
<v Speaker 2>In the opening chapters of this game. You just kill

0:49:40.320 --> 0:49:46.480
<v Speaker 2>a lot of people. And it's kind of unbelievably smart

0:49:46.600 --> 0:49:49.480
<v Speaker 2>and surprisingly empathetic for a game like this, in like

0:49:49.520 --> 0:49:52.560
<v Speaker 2>a post kind of Call of Juty world to begin

0:49:52.719 --> 0:49:57.879
<v Speaker 2>with the death that is so emotionally hammering and then

0:49:57.920 --> 0:49:59.640
<v Speaker 2>be like, oh, you have to kill a lot of people,

0:50:00.239 --> 0:50:02.920
<v Speaker 2>and every time you kill someone, what the game really

0:50:02.960 --> 0:50:06.320
<v Speaker 2>wants you to be doing is thinking about Sarah dying

0:50:06.400 --> 0:50:10.080
<v Speaker 2>and how much that ruined you, and who would be

0:50:10.200 --> 0:50:13.320
<v Speaker 2>ruined by these people's deaths that you're just so casually causing.

0:50:13.360 --> 0:50:17.239
<v Speaker 2>It's very smart storytelling, and it just sets up the

0:50:17.320 --> 0:50:20.800
<v Speaker 2>kind of bleak tone, and obviously on a narrative level,

0:50:21.200 --> 0:50:24.960
<v Speaker 2>it establishes like a really really great conflict and an

0:50:25.080 --> 0:50:27.400
<v Speaker 2>arc for Joe that will go on, especially when he

0:50:27.440 --> 0:50:31.839
<v Speaker 2>meets Ellie. But yeah, I just I think it's such

0:50:31.880 --> 0:50:34.920
<v Speaker 2>a good, brave decision to have it be a soldier,

0:50:35.000 --> 0:50:38.680
<v Speaker 2>a human who kills her. That's always the most heartbreaking

0:50:39.440 --> 0:50:43.120
<v Speaker 2>version of these kind of things. There's a brilliant Walking

0:50:43.160 --> 0:50:47.560
<v Speaker 2>Dead spin off show that was like a ya spin

0:50:47.560 --> 0:50:50.480
<v Speaker 2>off show. I think it was called Walking Dead World Beyond,

0:50:50.760 --> 0:50:53.600
<v Speaker 2>but it has a very It definitely took a lot

0:50:53.640 --> 0:50:56.640
<v Speaker 2>from this because there's a really great storyline about one

0:50:56.640 --> 0:50:59.200
<v Speaker 2>of the kids coming to terms with killing a zombie

0:50:59.680 --> 0:51:03.239
<v Speaker 2>killing walker, but the reality is that they killed a

0:51:03.320 --> 0:51:06.520
<v Speaker 2>human and that's really what they're coming to terms within it.

0:51:06.640 --> 0:51:11.880
<v Speaker 2>I just think that is the most interesting area to

0:51:12.000 --> 0:51:16.080
<v Speaker 2>explore in these zombie stories. Nobody. Look, we've seen so

0:51:16.200 --> 0:51:18.960
<v Speaker 2>many zombie stories in our in our lifetime, but what

0:51:19.120 --> 0:51:23.279
<v Speaker 2>really catches people about this about the Walking Dead, that

0:51:23.560 --> 0:51:28.719
<v Speaker 2>nature of humanity and how it responds in that circumstance.

0:51:28.840 --> 0:51:32.160
<v Speaker 2>That is the story that we want to see. And

0:51:32.200 --> 0:51:35.000
<v Speaker 2>I think that's why The walk that's why The Last

0:51:35.040 --> 0:51:38.560
<v Speaker 2>of Us was so affecting because of little choices like this.

0:51:39.280 --> 0:51:42.880
<v Speaker 1>It's maybe the best, most effective, most impactful for me

0:51:43.200 --> 0:51:49.120
<v Speaker 1>version of like the classic zombie story theme, which is

0:51:49.640 --> 0:51:54.880
<v Speaker 1>actually were the monsters? Yeah the zombies are doing yeah

0:51:54.920 --> 0:51:57.400
<v Speaker 1>the zombie Yeah, it's us. The zombies are doing what

0:51:57.480 --> 0:52:01.080
<v Speaker 1>they do. Uh, they're a state of nature, you know.

0:52:01.360 --> 0:52:04.160
<v Speaker 1>But we are the ones making the choice to torture

0:52:04.200 --> 0:52:07.480
<v Speaker 1>each other, to exploit each other for our things, for

0:52:07.560 --> 0:52:11.600
<v Speaker 1>our resources, to sell things and sell people to survive.

0:52:12.360 --> 0:52:15.880
<v Speaker 1>We are the ones choosing to do that. The infect

0:52:15.880 --> 0:52:17.840
<v Speaker 1>that are living out there in a very in a

0:52:17.880 --> 0:52:21.239
<v Speaker 1>state of balance, not attacking each other. Certainly, X ray

0:52:21.280 --> 0:52:25.719
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0:56:41.840 --> 0:56:44.080
<v Speaker 1>years later and we meet Joel. Now he's waking up.

0:56:44.400 --> 0:56:49.719
<v Speaker 1>He is grayer, obviously hardened by the years that have

0:56:49.840 --> 0:56:53.120
<v Speaker 1>passed and the loss that he has suffered. He wakes

0:56:53.239 --> 0:56:56.000
<v Speaker 1>up at a secure safe quarantine zone in what is

0:56:56.040 --> 0:57:00.680
<v Speaker 1>still called Boston, to pounding on the door, and the

0:57:00.719 --> 0:57:05.760
<v Speaker 1>person at his door is Tess is hard drinking partner

0:57:05.800 --> 0:57:11.319
<v Speaker 1>and smuggling and also lover. We can love that, evenly.

0:57:11.120 --> 0:57:15.480
<v Speaker 2>It's sulling here. These two are almost symbiotic in their

0:57:15.520 --> 0:57:20.520
<v Speaker 2>ability to stealthily move around the city, kill people, and

0:57:20.560 --> 0:57:24.560
<v Speaker 2>smuggle shit. They are survivors first and foremost, and at

0:57:24.560 --> 0:57:27.200
<v Speaker 2>the moment they survive by relying on each other. But

0:57:27.240 --> 0:57:30.200
<v Speaker 2>it is clear from the outset that that is not

0:57:30.320 --> 0:57:34.560
<v Speaker 2>some kind of deep seated, trusting, loving relationship. That is

0:57:34.600 --> 0:57:37.080
<v Speaker 2>the nature of the world that we live in. They

0:57:37.120 --> 0:57:40.960
<v Speaker 2>have to survive, and at the moment they are useful

0:57:40.960 --> 0:57:41.960
<v Speaker 2>to each other to do that.

0:57:44.600 --> 0:57:50.840
<v Speaker 1>Tess enters. She's got a big new black eye, and

0:57:51.040 --> 0:57:55.560
<v Speaker 1>she's yelling about some kind of smuggling meet up that

0:57:55.680 --> 0:57:58.200
<v Speaker 1>Joel missed. Joel Joel kind of like fucked her on

0:57:58.240 --> 0:58:01.080
<v Speaker 1>this deal. It had to do with pills, ration cards,

0:58:01.440 --> 0:58:03.800
<v Speaker 1>whatever it was. Test took care of it. But on

0:58:03.840 --> 0:58:06.880
<v Speaker 1>the way back from the deal, she got jumped by

0:58:06.920 --> 0:58:10.320
<v Speaker 1>four dudes who she doesn't say, but who we can

0:58:10.360 --> 0:58:18.520
<v Speaker 1>guess are now dead them because Tess, we'll say it

0:58:18.520 --> 0:58:21.440
<v Speaker 1>now for the first time, is a psychotic murderer.

0:58:21.480 --> 0:58:24.800
<v Speaker 2>She is a mass murderer, and she will take you

0:58:24.880 --> 0:58:27.360
<v Speaker 2>on a journey. Every point she's like, let's go do

0:58:27.440 --> 0:58:29.760
<v Speaker 2>this thing, and it really turns out that you are

0:58:29.800 --> 0:58:31.440
<v Speaker 2>gonna have to mass murder a lot of people to

0:58:31.440 --> 0:58:33.479
<v Speaker 2>do it. Maybe that's just the nature of the world,

0:58:33.640 --> 0:58:37.080
<v Speaker 2>but Tess has a tendency towards being as she will.

0:58:37.480 --> 0:58:41.320
<v Speaker 1>Yeah, yeah, she if if the thing that she wants

0:58:42.560 --> 0:58:44.720
<v Speaker 1>is on the other side of a lot of people,

0:58:45.400 --> 0:58:48.960
<v Speaker 1>Tests will take the path that takes her through the people. Yeah,

0:58:48.960 --> 0:58:50.200
<v Speaker 1>because that's just who Tests is.

0:58:50.240 --> 0:58:53.040
<v Speaker 2>And that is something very interesting that the game does

0:58:53.080 --> 0:58:56.120
<v Speaker 2>that I have begun to see on my replay because

0:58:56.160 --> 0:58:58.800
<v Speaker 2>I'm coming at from this more critical perspective. I'm not

0:58:58.880 --> 0:59:01.000
<v Speaker 2>just like high playing it and I'm like a teenager

0:59:01.120 --> 0:59:04.640
<v Speaker 2>or whatever, you know, But like, the game sets you

0:59:04.880 --> 0:59:12.680
<v Speaker 2>up on multiple missions where if you go Tests Root

0:59:12.840 --> 0:59:14.560
<v Speaker 2>and you try and kill a bunch of people, when

0:59:14.600 --> 0:59:17.880
<v Speaker 2>you get further in, you will never survive. But if

0:59:17.880 --> 0:59:21.400
<v Speaker 2>you can stealthily get around and avoid killing people, you

0:59:21.440 --> 0:59:24.240
<v Speaker 2>can get through it really easily. And it establishes and

0:59:24.520 --> 0:59:26.520
<v Speaker 2>there are ways to get through with combat. You can

0:59:26.560 --> 0:59:28.560
<v Speaker 2>be the badass, you can hit, you can pick, you

0:59:28.600 --> 0:59:31.160
<v Speaker 2>can pick those things just really hard. But it's really hard.

0:59:31.480 --> 0:59:35.560
<v Speaker 2>And I love that they kind of establish the rules

0:59:35.560 --> 0:59:37.080
<v Speaker 2>of what you think the game are, Oh, you kill

0:59:37.080 --> 0:59:39.000
<v Speaker 2>people because they're in our way and we need their things.

0:59:39.160 --> 0:59:41.000
<v Speaker 2>But then they're like, oh, but actually, if you want

0:59:41.000 --> 0:59:44.080
<v Speaker 2>to try not to kill people, maybe that will be easier.

0:59:44.160 --> 0:59:47.880
<v Speaker 2>Sometimes it's it's very interesting but yeah, they're after Robert,

0:59:47.920 --> 0:59:49.880
<v Speaker 2>and that's going to go badly for Robert.

0:59:50.720 --> 0:59:54.640
<v Speaker 1>Yeah, so Robert. These dudes were that Tests probably killed,

0:59:55.360 --> 0:59:59.440
<v Speaker 1>were sent by Robert, who is a former like smuggling

0:59:59.520 --> 1:00:02.360
<v Speaker 1>partner in smuggling, maybe like a person they have dyne

1:00:03.320 --> 1:00:09.280
<v Speaker 1>like an ally, and apparently Robert double crossed them on

1:00:09.360 --> 1:00:12.320
<v Speaker 1>a deal for a bunch of guns, and Test wants

1:00:12.320 --> 1:00:14.760
<v Speaker 1>the guns back and guess what she knows where Robert is.

1:00:14.800 --> 1:00:17.560
<v Speaker 1>He's in a warehouse an area five. So she's like,

1:00:17.600 --> 1:00:19.880
<v Speaker 1>you want to come fuck Robert up with me? And

1:00:19.960 --> 1:00:22.960
<v Speaker 1>Joel's like, yeah, let's go on the way. We had

1:00:23.040 --> 1:00:27.040
<v Speaker 1>some some of this again wonderfully delivered exposition where Tests

1:00:27.160 --> 1:00:30.120
<v Speaker 1>is telling us that seems like more people from the

1:00:30.160 --> 1:00:34.720
<v Speaker 1>quarantine zone have been getting infected by the cordyceps. Joel,

1:00:34.960 --> 1:00:37.880
<v Speaker 1>I think rightly suggests that this is because people have

1:00:37.880 --> 1:00:40.880
<v Speaker 1>been bringing quarantine people like Joel Adess have been sneaking out,

1:00:40.920 --> 1:00:44.480
<v Speaker 1>probably to get stuff. It is suggested, though never really

1:00:44.920 --> 1:00:48.720
<v Speaker 1>laid out in any kind of detailed way, that that

1:00:48.960 --> 1:00:54.760
<v Speaker 1>the quarantine zone authorities are like it's like a dictatorship,

1:00:54.800 --> 1:01:00.160
<v Speaker 1>Like it's atalitarian dictatorship. There's it's hard to understand like

1:01:00.200 --> 1:01:02.480
<v Speaker 1>what shape that takes. Certainly because like Test and Joel

1:01:02.520 --> 1:01:05.680
<v Speaker 1>have no problems walking around and it seems like they

1:01:05.680 --> 1:01:08.240
<v Speaker 1>have no problems getting fake IDs to move through checkpoints.

1:01:08.520 --> 1:01:12.040
<v Speaker 1>But you know, whatever shape that takes, life in the

1:01:12.160 --> 1:01:17.000
<v Speaker 1>quarantine zone leaves people wanting, and certainly it drives people

1:01:17.040 --> 1:01:21.000
<v Speaker 1>like Jol and Tests to you know, go outside the

1:01:21.120 --> 1:01:25.760
<v Speaker 1>law in order to you know, get stuff, which leads

1:01:25.800 --> 1:01:28.320
<v Speaker 1>me to think of, oh, I forget the name of

1:01:28.360 --> 1:01:33.360
<v Speaker 1>the guy. He like is one of the philosophers who's

1:01:33.760 --> 1:01:38.800
<v Speaker 1>responsible for the postmodernist of philosophy, but he said something

1:01:38.920 --> 1:01:43.440
<v Speaker 1>like it's much easier to imagine the end of the

1:01:43.440 --> 1:01:47.000
<v Speaker 1>world than it is to imagine the end of capitalism.

1:01:47.400 --> 1:01:51.840
<v Speaker 1>And that is on display here because obviously testan Joel

1:01:51.880 --> 1:01:54.640
<v Speaker 1>are out here looking for ration cards, which are today's currency.

1:01:54.760 --> 1:01:57.680
<v Speaker 2>I think that's a really great point because again when

1:01:57.680 --> 1:02:00.280
<v Speaker 2>we talk about the exposition, and also this is game

1:02:00.280 --> 1:02:02.280
<v Speaker 2>that is very focused on character, there's a lot of

1:02:02.280 --> 1:02:04.440
<v Speaker 2>great world building visually because of a video game, and

1:02:04.480 --> 1:02:07.440
<v Speaker 2>it has an unbelievable amount of like you said, artisan's

1:02:07.480 --> 1:02:09.600
<v Speaker 2>animat as people working on it, but a lot of

1:02:09.640 --> 1:02:11.960
<v Speaker 2>the stuff that we come to glean about the world

1:02:12.000 --> 1:02:15.400
<v Speaker 2>in general, is much more of that what is going

1:02:15.440 --> 1:02:18.160
<v Speaker 2>on and that idea that there are definitely most of

1:02:18.200 --> 1:02:24.000
<v Speaker 2>the economy within the zone of the quarantine area is

1:02:25.080 --> 1:02:28.880
<v Speaker 2>a smuggling, bartering kind of culture which very much heavily

1:02:28.960 --> 1:02:34.320
<v Speaker 2>leans into capitalism. And we get into those moments later on,

1:02:34.480 --> 1:02:37.920
<v Speaker 2>especially and kind of just when we start to explore

1:02:37.960 --> 1:02:42.840
<v Speaker 2>where there's these kind of brutal curfews and if you

1:02:42.880 --> 1:02:44.840
<v Speaker 2>don't follow the curfew you're getting shot. So there's like

1:02:44.880 --> 1:02:48.320
<v Speaker 2>we don't know at this point, like who is in charge?

1:02:48.360 --> 1:02:50.320
<v Speaker 2>Why is this happening? But we it's not a good

1:02:50.320 --> 1:02:51.200
<v Speaker 2>time to be alive.

1:02:51.880 --> 1:02:55.200
<v Speaker 1>Nine a great time. Tess and Joel on their way

1:02:55.240 --> 1:02:58.680
<v Speaker 1>to Robert try to go through a certain checkpoint, but

1:02:58.960 --> 1:03:01.280
<v Speaker 1>on their way through the check point, the checkpoint gets

1:03:01.360 --> 1:03:05.640
<v Speaker 1>hit by the Fireflies, who we have learned through the

1:03:05.760 --> 1:03:12.560
<v Speaker 1>exposition dump during the credits are a extremist militia group

1:03:12.960 --> 1:03:16.400
<v Speaker 1>who are dedicated to finding a cure for all this.

1:03:16.720 --> 1:03:20.840
<v Speaker 1>Like they the suggestion and again not really laid out,

1:03:21.160 --> 1:03:24.920
<v Speaker 1>but the suggestion is by their very existence is that

1:03:24.920 --> 1:03:29.360
<v Speaker 1>the zone authorities are complacent, are happy enough to be

1:03:29.640 --> 1:03:34.600
<v Speaker 1>ruling this little rump of civilization that's left over, whereas

1:03:34.640 --> 1:03:40.959
<v Speaker 1>the Fireflies, you know, this ragtag collection of armed scientists

1:03:41.000 --> 1:03:43.800
<v Speaker 1>and everyday people who just want to return to the

1:03:43.800 --> 1:03:47.680
<v Speaker 1>world as it was, are actually interested in doing something

1:03:47.720 --> 1:03:51.960
<v Speaker 1>in order to cure this fungus, to to stamp it out.

1:03:51.960 --> 1:03:54.800
<v Speaker 1>So they've just attacked and Joel and Tests end up

1:03:54.800 --> 1:03:59.280
<v Speaker 1>having to go a different way. They go through, you know,

1:03:59.320 --> 1:04:03.880
<v Speaker 1>a building that is part of the smuggling network. We're

1:04:03.920 --> 1:04:07.600
<v Speaker 1>looking for Robert here. Now we start to arm and

1:04:07.640 --> 1:04:12.120
<v Speaker 1>you start to pick up the stuff that Joel and

1:04:13.000 --> 1:04:16.080
<v Speaker 1>later on Ellie you're going to use in order to

1:04:16.560 --> 1:04:18.880
<v Speaker 1>you know, navigate through this world. And for Joel right

1:04:18.880 --> 1:04:20.760
<v Speaker 1>now and for the player right now, that's just a

1:04:20.800 --> 1:04:24.840
<v Speaker 1>knapsack to hold scavenged items and a nine millimeters pistol.

1:04:26.400 --> 1:04:29.160
<v Speaker 1>Eventually we end up outside the quarantine zone, where it

1:04:29.240 --> 1:04:33.120
<v Speaker 1>is gorgeous. It's calls to mind Chernoyl. Yeah, you know

1:04:33.200 --> 1:04:37.760
<v Speaker 1>this place where something horrendous has happened that has driven

1:04:37.840 --> 1:04:42.120
<v Speaker 1>humanity away, but nature has reclaimed it. It's like beautiful greenery,

1:04:42.720 --> 1:04:44.120
<v Speaker 1>destroyed buildings.

1:04:44.480 --> 1:04:46.480
<v Speaker 2>It's my favorite thing about this game, and it's my

1:04:46.560 --> 1:04:51.000
<v Speaker 2>favorite thing about the choices that they made to differentiate

1:04:51.000 --> 1:04:54.000
<v Speaker 2>it from what we've seen before. It also fits in

1:04:54.040 --> 1:04:55.600
<v Speaker 2>with the nature of what you were talking about, this

1:04:55.640 --> 1:04:59.040
<v Speaker 2>idea of extinction and how the world continues on and

1:04:59.160 --> 1:05:01.480
<v Speaker 2>life continues as you know, life will find a way

1:05:02.040 --> 1:05:05.120
<v Speaker 2>all that kind of stuff. Because yeah, it's this horrific

1:05:05.160 --> 1:05:07.840
<v Speaker 2>quarantine zone and the cops are there and the army

1:05:07.960 --> 1:05:10.240
<v Speaker 2>is there, and you can't go through without your ideas,

1:05:10.560 --> 1:05:14.440
<v Speaker 2>and they're basically keeping people prisoner in this space, but

1:05:15.240 --> 1:05:17.760
<v Speaker 2>they can't stop the plants from going, they can't stop

1:05:17.800 --> 1:05:21.600
<v Speaker 2>the ponds from bubbling up. That it's so beautiful and

1:05:21.640 --> 1:05:27.000
<v Speaker 2>it is just such a nice change from the dark,

1:05:28.760 --> 1:05:31.960
<v Speaker 2>darkly lit kind of tombs that we're used to in

1:05:32.320 --> 1:05:34.760
<v Speaker 2>horror video games, and this does have some of that,

1:05:34.840 --> 1:05:39.240
<v Speaker 2>like there is a lot of spoof and you've got

1:05:39.320 --> 1:05:42.000
<v Speaker 2>and you've got a flashlight, and you're scenees of cool shit.

1:05:42.160 --> 1:05:46.560
<v Speaker 2>But it these moments of beauty and these flashes they

1:05:46.600 --> 1:05:49.520
<v Speaker 2>will as you play through the game and as we

1:05:49.600 --> 1:05:52.200
<v Speaker 2>go to talk about it in future episodes, they lead

1:05:52.240 --> 1:05:54.960
<v Speaker 2>to some of the most kind of emotionally stunning moments

1:05:55.560 --> 1:05:58.240
<v Speaker 2>in the game. And I love this choice and it

1:05:58.400 --> 1:06:01.080
<v Speaker 2>makes me, It just makes me really happy. And the

1:06:01.120 --> 1:06:05.280
<v Speaker 2>remastered version is even more beautiful than beautiful.

1:06:05.600 --> 1:06:09.640
<v Speaker 1>Yeah, it's beautiful. In one of these ruined buildings, we

1:06:09.720 --> 1:06:13.360
<v Speaker 1>encounter the spores for the first time. Tests and Joel

1:06:13.560 --> 1:06:16.160
<v Speaker 1>have gas masks which they put on in order to

1:06:16.240 --> 1:06:20.520
<v Speaker 1>avoid being infected by these spores. I guess it doesn't

1:06:20.520 --> 1:06:23.080
<v Speaker 1>matter if you get them on your clothes and stuff later,

1:06:23.280 --> 1:06:25.000
<v Speaker 1>like I you know, like as long as you don't

1:06:25.000 --> 1:06:28.560
<v Speaker 1>breathe them in. I'm not gonna question Joel. And they've

1:06:28.560 --> 1:06:30.080
<v Speaker 1>been doing this a long time and they know what

1:06:30.120 --> 1:06:34.439
<v Speaker 1>they're doing, okay, And if you'll fucked as we find out. Fuck,

1:06:34.600 --> 1:06:37.360
<v Speaker 1>it'd be interesting to see, you know, when the show airs,

1:06:38.840 --> 1:06:42.120
<v Speaker 1>how sciencey they make, because clearly, I think if you

1:06:42.120 --> 1:06:44.040
<v Speaker 1>get the fungus, if you get the cordyceps on your

1:06:44.080 --> 1:06:47.600
<v Speaker 1>fucking shirt and then you touch your shirt, you're gonna

1:06:47.600 --> 1:06:49.400
<v Speaker 1>have to take it. Yeah, You're gonna have to like

1:06:49.440 --> 1:06:53.880
<v Speaker 1>decontaminate anyway. So we encounter the spores and you see

1:06:53.880 --> 1:06:56.040
<v Speaker 1>the source of the spores, which is like this person

1:06:56.880 --> 1:07:01.360
<v Speaker 1>who has been you know, uh it suffer an advanced infection.

1:07:01.960 --> 1:07:05.400
<v Speaker 1>It's his body seems almost like torn open by the

1:07:05.480 --> 1:07:09.680
<v Speaker 1>spores with these like tentacle like things coming off of them.

1:07:09.720 --> 1:07:13.480
<v Speaker 1>It's almost like a melding of plant and person in

1:07:13.520 --> 1:07:17.120
<v Speaker 1>this kind of like body horror kind of way, very

1:07:17.160 --> 1:07:18.040
<v Speaker 1>body horror.

1:07:17.840 --> 1:07:20.200
<v Speaker 2>And they're sort of like it almost looks like fingers

1:07:20.240 --> 1:07:22.600
<v Speaker 2>are growing out of random parts of the bodies, which

1:07:22.600 --> 1:07:25.840
<v Speaker 2>I'm assuming are kind of these cordyceps like mushroom fungal

1:07:25.920 --> 1:07:29.120
<v Speaker 2>kind of situations. It's really creepy, and in those moments

1:07:29.120 --> 1:07:33.960
<v Speaker 2>you really invoke that resident evil kind of dead space, like, oh,

1:07:34.040 --> 1:07:36.600
<v Speaker 2>what's coming around the corner. But it's very funny because

1:07:36.760 --> 1:07:39.520
<v Speaker 2>they don't. They let you have it, they let you fight,

1:07:40.400 --> 1:07:42.800
<v Speaker 2>they give you a taste, but really you're here to

1:07:42.800 --> 1:07:45.919
<v Speaker 2>get Robert, and that means killing humans. That means that's

1:07:46.360 --> 1:07:48.240
<v Speaker 2>that's the bleakness of what you have to do to

1:07:48.240 --> 1:07:50.680
<v Speaker 2>survive and to get to the part of the story

1:07:50.680 --> 1:07:52.080
<v Speaker 2>that is so important.

1:07:52.320 --> 1:07:55.760
<v Speaker 1>Well you get to do that. Shortly after seeing the

1:07:55.800 --> 1:07:58.280
<v Speaker 1>source of the spores in this building. You find it,

1:07:58.640 --> 1:08:01.720
<v Speaker 1>you know, some other scavenger who is out here, a

1:08:01.880 --> 1:08:05.040
<v Speaker 1>very very heavy apparently like a file cabinet and piece

1:08:05.040 --> 1:08:07.000
<v Speaker 1>of the wall I think has fallen on this person

1:08:07.040 --> 1:08:11.200
<v Speaker 1>and now they are infected and they beg Joel and

1:08:11.320 --> 1:08:13.680
<v Speaker 1>Test to just put him out of his misery. Just

1:08:13.720 --> 1:08:16.200
<v Speaker 1>do it. And now you are given the choice. You

1:08:16.280 --> 1:08:20.080
<v Speaker 1>are Joel, and you can either kill him or leave him.

1:08:20.640 --> 1:08:22.000
<v Speaker 1>I don't know about you, but I put him out

1:08:22.000 --> 1:08:25.439
<v Speaker 1>of his again, yeah, because like you know, it's not

1:08:26.720 --> 1:08:29.280
<v Speaker 1>the other way. It's a terrible choice, but the other

1:08:29.320 --> 1:08:32.439
<v Speaker 1>way is worse. And this gives you again of the

1:08:32.479 --> 1:08:35.280
<v Speaker 1>taste of the kind of moral bleakness that you're going

1:08:35.360 --> 1:08:41.320
<v Speaker 1>to be faced with as Joel. But Test is going

1:08:41.400 --> 1:08:44.679
<v Speaker 1>to be faced with a similar choice later. And unlike Joel,

1:08:45.000 --> 1:08:48.840
<v Speaker 1>who is us, she has no hesitation and does not

1:08:48.880 --> 1:08:51.439
<v Speaker 1>think about it at all. She just does the kill

1:08:51.520 --> 1:08:54.760
<v Speaker 1>him thing. Eventually, Tests and Joel arrive at like some

1:08:55.080 --> 1:08:59.320
<v Speaker 1>squalid camp, you know, bird into these like narrow city streets,

1:08:59.600 --> 1:09:03.280
<v Speaker 1>and it is fucking bleak there. There's like there's like

1:09:03.479 --> 1:09:06.120
<v Speaker 1>bare knuckle fighting.

1:09:06.200 --> 1:09:08.040
<v Speaker 2>People are trying to fight you, like if you get

1:09:08.040 --> 1:09:10.519
<v Speaker 2>too close to people that are gonna push you. Nobody

1:09:10.560 --> 1:09:13.519
<v Speaker 2>knows Joel, nobody has but they know Tests.

1:09:13.920 --> 1:09:16.639
<v Speaker 1>Yeah. They Test has a lot of respect here.

1:09:17.600 --> 1:09:22.320
<v Speaker 2>Maybe all makes boyfriends too. She calls some of them

1:09:22.320 --> 1:09:25.040
<v Speaker 2>like an ex headache and on my own. Yeah.

1:09:25.240 --> 1:09:28.439
<v Speaker 1>So as we move through here, Test kind of gets

1:09:28.960 --> 1:09:32.800
<v Speaker 1>gets a further pinpoint on where Robert is going to be.

1:09:33.240 --> 1:09:36.400
<v Speaker 1>They move around the corner. Test bribes a local with

1:09:36.520 --> 1:09:40.120
<v Speaker 1>some ration cards to get that pinpoint, a location for Robert,

1:09:40.160 --> 1:09:42.000
<v Speaker 1>and just as we head off around the corner, here

1:09:42.040 --> 1:09:48.759
<v Speaker 1>come three dudes, Robert's good muscle, apparently Robert. Whatever Robert

1:09:48.800 --> 1:09:52.080
<v Speaker 1>is doing out here in the in the wasteland, he

1:09:52.280 --> 1:09:56.880
<v Speaker 1>is managing to accrue power. People are following him and

1:09:56.920 --> 1:09:59.479
<v Speaker 1>you see that in this moment, and they're like, you

1:09:59.520 --> 1:10:02.639
<v Speaker 1>can't go any further, YadA, YadA, YadA, what do you want?

1:10:02.720 --> 1:10:05.240
<v Speaker 1>Test is like, oh really, and just shoots the first guy. Yeah,

1:10:05.320 --> 1:10:08.920
<v Speaker 1>flat out, just like cold blooded executes the first guy.

1:10:09.000 --> 1:10:11.639
<v Speaker 1>And now you get your first taste of real combat

1:10:11.640 --> 1:10:12.160
<v Speaker 1>in this game.

1:10:12.200 --> 1:10:14.080
<v Speaker 2>You are in trouble because now you have to be

1:10:14.080 --> 1:10:16.000
<v Speaker 2>shooting some people because these men.

1:10:16.040 --> 1:10:18.680
<v Speaker 1>And this is and this is like the kind you've

1:10:18.720 --> 1:10:22.120
<v Speaker 1>got and you've got like nine bullets. Yeah. So Joel

1:10:22.160 --> 1:10:25.000
<v Speaker 1>and Test work together to take care of the other two,

1:10:26.040 --> 1:10:31.400
<v Speaker 1>and then as you move past this, you encounter the

1:10:31.439 --> 1:10:34.160
<v Speaker 1>rest of Robert's men. They apparently didn't hear what just

1:10:34.240 --> 1:10:37.080
<v Speaker 1>happened some ways away to their compatriots and they're just

1:10:37.120 --> 1:10:39.639
<v Speaker 1>kind of walking around and you have to sneak past them,

1:10:39.680 --> 1:10:42.160
<v Speaker 1>maybe choke them out, if you want to bash them

1:10:42.160 --> 1:10:44.200
<v Speaker 1>over the head, whatever the case might be. But as

1:10:44.240 --> 1:10:47.720
<v Speaker 1>you're moving through this world again with this great exposition,

1:10:47.760 --> 1:10:51.400
<v Speaker 1>you're getting these little you're overhearing, these little snippets of

1:10:51.479 --> 1:10:57.719
<v Speaker 1>conversation that paint you know what the world is. You hear,

1:10:57.880 --> 1:11:05.880
<v Speaker 1>for instance, one of Robert's people talking about the fireflies, Yeah,

1:11:05.920 --> 1:11:10.040
<v Speaker 1>and how they're seem to be gathering people to them

1:11:10.160 --> 1:11:12.479
<v Speaker 1>as well, just in the same way that that Robert

1:11:12.520 --> 1:11:15.320
<v Speaker 1>are doing. And as you move through this world, the

1:11:15.360 --> 1:11:17.880
<v Speaker 1>only thing that you are struck by is one how

1:11:17.960 --> 1:11:20.920
<v Speaker 1>dangerous and how exposed you feel all the time. And

1:11:21.240 --> 1:11:24.439
<v Speaker 1>the second is Tess is a fucking psycho. Yeah, she

1:11:24.680 --> 1:11:26.280
<v Speaker 1>is a cycle.

1:11:26.520 --> 1:11:30.640
<v Speaker 2>She is she is past the place of being a

1:11:30.680 --> 1:11:34.400
<v Speaker 2>broken survivor. She is forever changed. There is no going

1:11:34.439 --> 1:11:34.600
<v Speaker 2>back to.

1:11:34.840 --> 1:11:36.760
<v Speaker 1>Whatever happened to her is that she.

1:11:36.840 --> 1:11:40.840
<v Speaker 2>Will kill anyone that is her first, you are given

1:11:40.880 --> 1:11:43.439
<v Speaker 2>the choice. This is when you start to learn how

1:11:43.479 --> 1:11:48.000
<v Speaker 2>to be stealthy. How to they say, strangle someone? You

1:11:48.000 --> 1:11:49.800
<v Speaker 2>can say, maybe you're just choking them out till they

1:11:49.880 --> 1:11:53.240
<v Speaker 2>go unconscious. I believe you're probably killing them, but and

1:11:53.360 --> 1:11:55.880
<v Speaker 2>you start, you can you can pick up bottles that

1:11:55.920 --> 1:11:58.360
<v Speaker 2>you can throw to distract people. You can kill people

1:11:58.400 --> 1:12:00.559
<v Speaker 2>with bricks. You can there's that you can get. You

1:12:00.560 --> 1:12:03.160
<v Speaker 2>get a ship at this point, which is very dramatic, right,

1:12:03.920 --> 1:12:07.880
<v Speaker 2>but Test will always shoot fast, not both to ask

1:12:08.000 --> 1:12:08.639
<v Speaker 2>questions later.

1:12:09.080 --> 1:12:14.240
<v Speaker 1>She's been through it. Yes, Finally we get moving through this, uh,

1:12:14.600 --> 1:12:18.479
<v Speaker 1>this thicket of enemies. We get eyes on Robert, that

1:12:18.680 --> 1:12:22.280
<v Speaker 1>cocky son of a bitch, Test says. And then after

1:12:22.400 --> 1:12:27.040
<v Speaker 1>several other like about three other very very bloody fights,

1:12:27.439 --> 1:12:30.679
<v Speaker 1>and then a squirrely footchase through the alley, we corner Robert.

1:12:31.120 --> 1:12:34.960
<v Speaker 1>Guns are gone, he says, they're gone. He sold them

1:12:34.960 --> 1:12:37.160
<v Speaker 1>to the fireflies. Test is like, yeah, well I want

1:12:37.240 --> 1:12:41.639
<v Speaker 1>him back, and Robert's like Robert now again this excellent

1:12:41.720 --> 1:12:47.080
<v Speaker 1>voice acting. Robert realizes that because he's of no value

1:12:47.400 --> 1:12:51.639
<v Speaker 1>anymore to Tests, he doesn't have the guns, he's probably

1:12:51.640 --> 1:12:52.559
<v Speaker 1>gonna fucking die.

1:12:52.640 --> 1:12:55.559
<v Speaker 2>He knows it's gonna happen.

1:12:56.160 --> 1:12:59.160
<v Speaker 1>It's gonna happen. Right now. He's gone from this guy

1:12:59.200 --> 1:13:02.879
<v Speaker 1>who is like a udding warlord, you know, like gathering strength,

1:13:02.920 --> 1:13:07.000
<v Speaker 1>to about to get fucking done on the ground in

1:13:07.040 --> 1:13:10.800
<v Speaker 1>an alley, and so he's desperately begging for his life

1:13:10.800 --> 1:13:14.120
<v Speaker 1>by basically pitching like this crazy adventure. Hey, here's what

1:13:14.160 --> 1:13:17.720
<v Speaker 1>we do. You know us three. I'll get you in

1:13:17.720 --> 1:13:19.800
<v Speaker 1>to meet the fireflies and you kill him and then

1:13:19.840 --> 1:13:21.559
<v Speaker 1>you take the guns back and we're good, right, And

1:13:21.600 --> 1:13:23.719
<v Speaker 1>then Test is like no, and she just fucking shoots

1:13:23.760 --> 1:13:26.679
<v Speaker 1>him in the head. He's done, uh tests, and Joel

1:13:27.560 --> 1:13:30.960
<v Speaker 1>really more tests. But Joel's Joe Joel for the ride.

1:13:31.200 --> 1:13:33.640
<v Speaker 1>Joel's along for the ride. Now this is interesting. So

1:13:33.680 --> 1:13:36.240
<v Speaker 1>Test is like, I still want the guns, and Joel

1:13:36.280 --> 1:13:40.719
<v Speaker 1>goes along with it. My read on this is Joel

1:13:40.800 --> 1:13:43.360
<v Speaker 1>died twenty years ago and he doesn't care if he dies. Now.

1:13:44.080 --> 1:13:45.160
<v Speaker 1>I think it's dangerous.

1:13:45.360 --> 1:13:47.799
<v Speaker 2>I think every day for Joel, every day for Joel

1:13:48.000 --> 1:13:51.479
<v Speaker 2>is the worst day of his life. Yeah, but he's

1:13:51.520 --> 1:13:54.320
<v Speaker 2>also absolutely numb to it. I think it's very interesting

1:13:54.360 --> 1:13:56.799
<v Speaker 2>how they have him missed that drap because it opens

1:13:56.880 --> 1:13:58.880
<v Speaker 2>up so many questions the first time you play what

1:13:58.920 --> 1:14:03.439
<v Speaker 2>we liked? Yeah, well, like, was this especially bad dave him?

1:14:03.560 --> 1:14:06.760
<v Speaker 2>Was this an anniversary? Was he just wasted? Like? Was

1:14:06.800 --> 1:14:09.000
<v Speaker 2>he so out of it? And he doesn't care?

1:14:09.360 --> 1:14:10.439
<v Speaker 1>And I think he doesn't care.

1:14:10.560 --> 1:14:13.080
<v Speaker 2>It's every day. Is like, if this is the lost day,

1:14:13.120 --> 1:14:14.400
<v Speaker 2>then fine.

1:14:14.960 --> 1:14:17.240
<v Speaker 1>Fine, okay, you want to do some crazy shit. We're

1:14:17.240 --> 1:14:20.000
<v Speaker 1>going to take on the fireflies we just saw launch

1:14:20.040 --> 1:14:24.439
<v Speaker 1>a devastating attack on like armed soldiers in the zone. Yeah. Sure,

1:14:24.560 --> 1:14:29.880
<v Speaker 1>like yeah. So, as they're discussing having to meet up

1:14:29.920 --> 1:14:34.559
<v Speaker 1>with the fireflies some way, somehow, you know, in a

1:14:34.720 --> 1:14:39.840
<v Speaker 1>wonderful stroke of luck, the firefly leader in the quarantine zone, Marlene,

1:14:39.880 --> 1:14:41.960
<v Speaker 1>who has been wounded in one of the fights that

1:14:42.520 --> 1:14:45.680
<v Speaker 1>took place, you know, a couple of minutes ago, uh

1:14:46.120 --> 1:14:49.599
<v Speaker 1>staggers up and she says, I can get you your

1:14:49.600 --> 1:14:52.200
<v Speaker 1>guns back, but you have to do a job for me.

1:14:52.400 --> 1:14:55.360
<v Speaker 1>And Tessa's like, okay, you know how many ration cars

1:14:55.439 --> 1:14:57.960
<v Speaker 1>you need? What do you need moved? And she's like no, no, no, no,

1:14:58.200 --> 1:15:02.479
<v Speaker 1>a smuggling job. Mar He needs them apparently, tests and Joel,

1:15:02.560 --> 1:15:06.400
<v Speaker 1>because one, all the people they were going to use

1:15:06.640 --> 1:15:10.559
<v Speaker 1>they just killed. And two, despite the fact that the

1:15:10.600 --> 1:15:16.080
<v Speaker 1>fireflies look pretty punchy in that recent attack on the checkpoint,

1:15:16.560 --> 1:15:20.240
<v Speaker 1>they're getting ground down. At least in the quarantineszone. The

1:15:20.240 --> 1:15:24.000
<v Speaker 1>fireflies are you know, almost used up. She says that

1:15:24.040 --> 1:15:29.120
<v Speaker 1>the zone authorities apparently needing a scapegoat for how shitty

1:15:29.320 --> 1:15:30.880
<v Speaker 1>things are in the zone, Like they just want to

1:15:30.920 --> 1:15:33.120
<v Speaker 1>take people's mind off of how shitty things are in

1:15:33.160 --> 1:15:36.519
<v Speaker 1>the zone. And therefore they launched this attack on the

1:15:36.560 --> 1:15:39.519
<v Speaker 1>Fireflies to just kind of like have an enemy that's

1:15:39.600 --> 1:15:42.160
<v Speaker 1>out there that they can the people can blame things on.

1:15:42.960 --> 1:15:45.919
<v Speaker 1>They initiated the hostilities against the fireflies, and the Fireflies

1:15:45.920 --> 1:15:47.600
<v Speaker 1>are on the losing end of this. We're trying to

1:15:47.640 --> 1:15:53.479
<v Speaker 1>defend ourselves, Marlene says. So now it's Joel, Marlene and

1:15:53.560 --> 1:15:57.639
<v Speaker 1>psychotests sneaking their way past very very heavily armed soldiers.

1:15:57.640 --> 1:16:00.639
<v Speaker 1>And again that you're getting this. The game is introducing

1:16:00.640 --> 1:16:03.320
<v Speaker 1>you to the various enemies in a really, really wonderful

1:16:03.360 --> 1:16:08.639
<v Speaker 1>fashion to get to the firefight holdout base. Marlene is gutshot,

1:16:08.680 --> 1:16:11.200
<v Speaker 1>she's barely on her feet, and she leads them and

1:16:11.320 --> 1:16:14.479
<v Speaker 1>tests to it looks like a schoolroom or what do

1:16:14.479 --> 1:16:16.880
<v Speaker 1>you think? Yeah, I'm not sure what this is.

1:16:16.920 --> 1:16:20.040
<v Speaker 2>It's very unusual. And the fact that she needs Joel

1:16:20.120 --> 1:16:22.120
<v Speaker 2>to help her open the door, not just to help us,

1:16:22.160 --> 1:16:24.680
<v Speaker 2>you know, test that we can open a door with

1:16:24.680 --> 1:16:26.880
<v Speaker 2>a triangle. It's a very heavy door. I wonder if

1:16:26.920 --> 1:16:29.960
<v Speaker 2>it's some kind of locker or cooler or it's something,

1:16:30.000 --> 1:16:32.000
<v Speaker 2>but but it does look like at one point there

1:16:32.080 --> 1:16:35.000
<v Speaker 2>was some kind of classroom or or base there that

1:16:35.040 --> 1:16:39.280
<v Speaker 2>people we were teaching in. It's very interesting. And obviously

1:16:39.280 --> 1:16:41.200
<v Speaker 2>this is like a huge moment because this is this

1:16:41.240 --> 1:16:43.360
<v Speaker 2>is where we meet Ellie, right.

1:16:43.160 --> 1:16:46.320
<v Speaker 1>So this is this is the cargo to be smuggled.

1:16:46.320 --> 1:16:50.759
<v Speaker 1>We meet Ellie. She is behind this door. Ellie seeing

1:16:51.760 --> 1:16:55.120
<v Speaker 1>that what a bad state Marlene is in, is concerned.

1:16:55.160 --> 1:16:57.120
<v Speaker 1>She's like, oh my god, are you okay? And it's

1:16:57.160 --> 1:17:01.760
<v Speaker 1>a jarring moment because it's the first time since Sarah.

1:17:01.800 --> 1:17:04.400
<v Speaker 1>So I don't know, you know, your mileage may vary,

1:17:04.439 --> 1:17:06.800
<v Speaker 1>but for me maybe like three hours of gameplay or

1:17:06.800 --> 1:17:08.960
<v Speaker 1>something like that, three and a half hours. It's the

1:17:08.960 --> 1:17:12.080
<v Speaker 1>first time in three and a half hours of gameplay

1:17:12.120 --> 1:17:15.679
<v Speaker 1>that you've met a character who cares about someone else. Yeah,

1:17:15.720 --> 1:17:19.360
<v Speaker 1>in a way that is not toxic, a person that

1:17:19.479 --> 1:17:22.880
<v Speaker 1>is not related to them, just a person just showing

1:17:23.000 --> 1:17:25.800
<v Speaker 1>kind of like care for a person who's hurt, not

1:17:25.920 --> 1:17:28.559
<v Speaker 1>a thing that Joel or test traffic in at all.

1:17:28.960 --> 1:17:30.920
<v Speaker 2>Yeah, And it's it's such a good moment as well,

1:17:30.960 --> 1:17:34.720
<v Speaker 2>because like it's not. It doesn't. The moment that we

1:17:34.760 --> 1:17:38.920
<v Speaker 2>meet Ellie is so well established because the first thing

1:17:39.000 --> 1:17:41.519
<v Speaker 2>she does when she sees Marlene coming through the door,

1:17:41.680 --> 1:17:44.439
<v Speaker 2>she like pulls out a knife and is like she's

1:17:44.600 --> 1:17:46.599
<v Speaker 2>a Joel and Test She's like, get the fuck away

1:17:46.640 --> 1:17:49.840
<v Speaker 2>from her, Like this isn't someone that she's even particularly

1:17:49.880 --> 1:17:53.599
<v Speaker 2>that close to. But she sees someone's injured who she knows,

1:17:53.680 --> 1:17:55.800
<v Speaker 2>and she sees two strangers, and she's ready to fight.

1:17:56.080 --> 1:17:58.000
<v Speaker 2>But that doesn't take away any of her empathy or

1:17:58.000 --> 1:18:01.519
<v Speaker 2>compassion for Marlene. She's just trying to protect that. It's

1:18:01.560 --> 1:18:03.799
<v Speaker 2>the opposite of what we've seen from Test and Joel,

1:18:04.240 --> 1:18:06.120
<v Speaker 2>and it's a It's a really great moment where you

1:18:06.240 --> 1:18:09.160
<v Speaker 2>kind of get to learn so much about this kid,

1:18:09.200 --> 1:18:11.559
<v Speaker 2>and it opens up this intriguing mystery of how would

1:18:11.560 --> 1:18:14.040
<v Speaker 2>they know each other, why would the cargo be a

1:18:14.080 --> 1:18:16.040
<v Speaker 2>little girl? What's going on.

1:18:17.320 --> 1:18:19.560
<v Speaker 1>It's also a very interesting moment from the perspective of

1:18:19.640 --> 1:18:24.599
<v Speaker 1>Joel considering like where this story goes. You, I guess,

1:18:24.640 --> 1:18:27.400
<v Speaker 1>because you know, I'm so familiar with the game, and

1:18:28.120 --> 1:18:31.960
<v Speaker 1>you know, I've recently played the last of US two

1:18:32.400 --> 1:18:34.800
<v Speaker 1>sequel that had come out like like a year and

1:18:34.840 --> 1:18:39.200
<v Speaker 1>a half ago or something. I kind of expected it

1:18:39.240 --> 1:18:43.120
<v Speaker 1>to be more of a moment that lands, and they

1:18:43.160 --> 1:18:45.000
<v Speaker 1>really just kind of throw it away. It's almost like

1:18:45.080 --> 1:18:47.080
<v Speaker 1>a nothing Like. Ellie shows up and it's.

1:18:46.920 --> 1:18:48.479
<v Speaker 2>Almost like no reaction to it.

1:18:48.560 --> 1:18:51.360
<v Speaker 1>He's no reaction to it. He doesn't give a shit.

1:18:52.160 --> 1:18:56.200
<v Speaker 1>He's completely dead inside. And Marlene is like, Okay, here's

1:18:56.240 --> 1:18:59.040
<v Speaker 1>the job. You take Ellie to a group of fireflies

1:18:59.080 --> 1:19:01.800
<v Speaker 1>that are waiting at the state house. State House is

1:19:01.840 --> 1:19:04.000
<v Speaker 1>in back Bay. They're currently like in the north End,

1:19:04.000 --> 1:19:07.479
<v Speaker 1>so like basically across the city. Uh. And Ellie's like what,

1:19:08.760 --> 1:19:10.000
<v Speaker 1>I'm not going Who the fuck?

1:19:10.040 --> 1:19:10.720
<v Speaker 2>Who is this guy?

1:19:11.479 --> 1:19:12.280
<v Speaker 1>Yeah? What? What?

1:19:12.720 --> 1:19:13.120
<v Speaker 3>Tests?

1:19:13.160 --> 1:19:19.639
<v Speaker 1>Meanwhile, is not about to do jack fucking shit until

1:19:19.680 --> 1:19:22.000
<v Speaker 1>she sees the guns. Do they exist? I thought you

1:19:22.000 --> 1:19:24.280
<v Speaker 1>were taking me to see them. Where are they? And

1:19:24.320 --> 1:19:25.920
<v Speaker 1>now they don't exist? And I have to do this

1:19:25.960 --> 1:19:28.160
<v Speaker 1>thing and now you can't. So Marlene's like, yeah, I'll

1:19:28.200 --> 1:19:31.400
<v Speaker 1>show you the guns tests there at the firefly base,

1:19:32.280 --> 1:19:35.800
<v Speaker 1>but we can't all go there because it's too dangerous

1:19:35.920 --> 1:19:38.639
<v Speaker 1>for Ellie to be on the streets. We will eventually

1:19:38.640 --> 1:19:42.479
<v Speaker 1>find out why Ellie is so prized, but it's too

1:19:42.560 --> 1:19:45.880
<v Speaker 1>dangerous a trip for her to make what we will go,

1:19:46.160 --> 1:19:49.599
<v Speaker 1>You and I will go, and Joel you will stay

1:19:49.600 --> 1:19:54.000
<v Speaker 1>with Ellie and watch over her. And Ellie's like and

1:19:54.080 --> 1:19:56.760
<v Speaker 1>take her to the to the Fireflies. And Ellie's like

1:19:58.320 --> 1:20:01.240
<v Speaker 1>that's crazy, Like she's I'm not.

1:20:01.200 --> 1:20:02.439
<v Speaker 2>Going to How do you range job?

1:20:03.000 --> 1:20:05.040
<v Speaker 1>How do you know these people? And then we find

1:20:05.040 --> 1:20:09.160
<v Speaker 1>out how Tommy brother, Tommy, Joel's brother, Tommy, is apparently

1:20:09.160 --> 1:20:13.639
<v Speaker 1>a former Firefly, his whereabouts currently unknown, and clearly he

1:20:13.760 --> 1:20:16.840
<v Speaker 1>vouched for Joel once upon a time, and also very

1:20:16.880 --> 1:20:20.000
<v Speaker 1>clearly his word and that vouching carried a lot of

1:20:20.040 --> 1:20:25.840
<v Speaker 1>weight with Marlene considering again how how much hinges on

1:20:26.520 --> 1:20:31.880
<v Speaker 1>Ellie surviving? And I had I wondered in this moment,

1:20:31.960 --> 1:20:38.280
<v Speaker 1>like did Tommy tell Marlene about Sarah? Because why else

1:20:38.320 --> 1:20:40.920
<v Speaker 1>would Marlene do this? Yes?

1:20:41.160 --> 1:20:44.320
<v Speaker 2>I think they in this moment, there's so much tension

1:20:44.360 --> 1:20:50.800
<v Speaker 2>and frustration and history in Tommy joining the Fireflies. You know,

1:20:52.200 --> 1:20:54.840
<v Speaker 2>Joel is horrified that he joined this militia group. Well,

1:20:54.840 --> 1:20:57.559
<v Speaker 2>he's upset, he feels rejected. He mentions it to Mollne.

1:20:57.720 --> 1:21:00.560
<v Speaker 2>Molene and Tommy were obviously close enough that she TRIEDIM.

1:21:00.960 --> 1:21:04.439
<v Speaker 2>I believe Tommy told her and I don't believe that

1:21:04.479 --> 1:21:06.760
<v Speaker 2>Molline is coming into this with some like he had

1:21:06.800 --> 1:21:10.559
<v Speaker 2>a daughter, he'll care. I think it is. She probably

1:21:10.560 --> 1:21:12.720
<v Speaker 2>hopes that's the case, but I think it's a more

1:21:12.800 --> 1:21:17.839
<v Speaker 2>cynical approach of well, I know his loss, so perhaps

1:21:17.880 --> 1:21:20.439
<v Speaker 2>this is like something I can explain it, I can

1:21:20.479 --> 1:21:22.960
<v Speaker 2>exploit it, and maybe he'll do something good for a

1:21:23.080 --> 1:21:26.320
<v Speaker 2>change because of it. I think I think Tommy told

1:21:26.360 --> 1:21:27.760
<v Speaker 2>Marlene right.

1:21:27.840 --> 1:21:30.840
<v Speaker 1>I think he said something to the effect of, Hey,

1:21:32.320 --> 1:21:35.800
<v Speaker 1>I know somebody who doesn't care whether he lives or

1:21:35.800 --> 1:21:39.320
<v Speaker 1>dies and is a really badass person moving through this world,

1:21:39.439 --> 1:21:45.360
<v Speaker 1>who I think would react in a deeply loyal and

1:21:45.400 --> 1:21:49.080
<v Speaker 1>emotional way to this girl, Ellie. I think he said

1:21:49.080 --> 1:21:51.519
<v Speaker 1>something like that to her. Ellie, of course, is unsure,

1:21:51.600 --> 1:21:54.120
<v Speaker 1>and we can understand from the way she talks and

1:21:54.160 --> 1:21:57.640
<v Speaker 1>the way she's responding now that she's not scared of

1:21:57.680 --> 1:21:59.960
<v Speaker 1>anything in a way that I think because of her age,

1:22:00.640 --> 1:22:02.960
<v Speaker 1>you are like, that's dangerous for you to not be

1:22:03.000 --> 1:22:07.280
<v Speaker 1>scared of anything like But she's fierce and very wisely

1:22:07.360 --> 1:22:09.000
<v Speaker 1>she you know, she would say like, I don't know

1:22:09.040 --> 1:22:11.080
<v Speaker 1>this fucking guy, Who the fuck is this guy? You're

1:22:11.080 --> 1:22:12.880
<v Speaker 1>gonna send me off alone? With this fucking guy.

1:22:12.920 --> 1:22:13.360
<v Speaker 2>I don't know.

1:22:14.000 --> 1:22:17.759
<v Speaker 1>But Tess is like, hey, Joel clearly is not wild

1:22:17.760 --> 1:22:21.400
<v Speaker 1>about it either, Like I think he sees Ellie in

1:22:21.439 --> 1:22:23.519
<v Speaker 1>this moment as like a weight.

1:22:23.640 --> 1:22:27.080
<v Speaker 2>That would, yeah, but just around his neck. He doesn't

1:22:27.120 --> 1:22:30.040
<v Speaker 2>need that, he doesn't need the emotional connection, he doesn't

1:22:30.080 --> 1:22:32.400
<v Speaker 2>need a kid. It's I find it very interesting too,

1:22:32.439 --> 1:22:35.400
<v Speaker 2>because when you think about the time jump, what you're

1:22:35.439 --> 1:22:39.679
<v Speaker 2>talking about with Ellie is somebody who grew up only

1:22:39.800 --> 1:22:41.040
<v Speaker 2>knowing this world.

1:22:40.880 --> 1:22:43.599
<v Speaker 1>Only knowing this Yes, that's such a great point.

1:22:43.680 --> 1:22:46.200
<v Speaker 2>I find that so interesting and I can't wait to

1:22:46.200 --> 1:22:49.080
<v Speaker 2>see how they explore that in the show. But yeah,

1:22:49.120 --> 1:22:52.920
<v Speaker 2>it's it's very intriguing, and neither of them are that interested.

1:22:53.120 --> 1:22:55.880
<v Speaker 2>But of course the game goes where the game goes.

1:22:56.800 --> 1:23:01.760
<v Speaker 1>Yeah, and of course Tess wants those fucking guns back.

1:23:01.920 --> 1:23:03.800
<v Speaker 1>She needs him back and she wants to see him.

1:23:03.840 --> 1:23:06.400
<v Speaker 1>So she's like, you, just, Joel, just fucking do it.

1:23:06.439 --> 1:23:07.880
<v Speaker 1>Take her to the North Tunnel and wait for me.

1:23:07.920 --> 1:23:11.320
<v Speaker 1>How hard could it be? And Joel and Ellie head off,

1:23:11.360 --> 1:23:14.600
<v Speaker 1>and thus begins that part of the tale, which we

1:23:14.640 --> 1:23:18.800
<v Speaker 1>will pick up at a later date. Incredible game, wonderful game.

1:23:19.080 --> 1:23:19.920
<v Speaker 2>Yeah, there's a.

1:23:19.840 --> 1:23:21.680
<v Speaker 1>Lot of great things to read if you want to

1:23:21.680 --> 1:23:24.360
<v Speaker 1>read more about this game that were written in the

1:23:24.439 --> 1:23:27.839
<v Speaker 1>time that it came out. I think of Tom Bissell's

1:23:27.840 --> 1:23:30.840
<v Speaker 1>Truish grit on Grantland, which is a place that I

1:23:30.920 --> 1:23:34.080
<v Speaker 1>used to write for. Here's a quote from that. I

1:23:34.120 --> 1:23:35.680
<v Speaker 1>played through a chunk of The Last of Us in

1:23:35.680 --> 1:23:38.600
<v Speaker 1>the company of a talented professional level designer. It was instructive.

1:23:38.880 --> 1:23:41.160
<v Speaker 1>The game opens in a little girls room mind A

1:23:41.240 --> 1:23:45.000
<v Speaker 1>level designer friend walked around the space, impressed first foremost

1:23:45.080 --> 1:23:48.120
<v Speaker 1>by the convincingness of his character's sleepy head animation set.

1:23:48.160 --> 1:23:50.439
<v Speaker 1>Then he began to point out art assets that seemed

1:23:50.439 --> 1:23:53.200
<v Speaker 1>to him particularly well made that he said at one

1:23:53.240 --> 1:23:56.920
<v Speaker 1>point is an amazing fucking bean bag. It's just, yeah,

1:23:57.000 --> 1:24:01.320
<v Speaker 1>it's just an incredibly immersive game. The New Yorker wrote

1:24:01.960 --> 1:24:05.880
<v Speaker 1>a really cool piece about whether The Last of Us

1:24:05.920 --> 1:24:11.440
<v Speaker 1>can become really the first high quality video game adaptation

1:24:12.160 --> 1:24:17.000
<v Speaker 1>in history, in either film or the television space. I guess,

1:24:17.080 --> 1:24:22.240
<v Speaker 1>you know, I don't know how people feel about, you know,

1:24:22.680 --> 1:24:26.160
<v Speaker 1>the fucking Assassin's Creed or some of these other adaptations

1:24:26.200 --> 1:24:26.720
<v Speaker 1>stay out there.

1:24:27.439 --> 1:24:29.840
<v Speaker 2>It's the cultural agreement that we have made, is that

1:24:30.000 --> 1:24:34.320
<v Speaker 2>video game adaptations rarely live up to the video game.

1:24:34.680 --> 1:24:37.920
<v Speaker 1>And I'm excited to cover the television show Rosie and

1:24:38.000 --> 1:24:42.400
<v Speaker 1>to see how tightly or loosely it hues to the

1:24:42.720 --> 1:24:45.400
<v Speaker 1>story and arc of the original game. I think you'll

1:24:45.439 --> 1:24:47.880
<v Speaker 1>find some for those of you who end up reading

1:24:47.920 --> 1:24:50.439
<v Speaker 1>the New York article, there's some cool tidbits in there

1:24:50.520 --> 1:24:55.400
<v Speaker 1>about how Craig Mason, showrunner, kind of designed the shows

1:24:55.600 --> 1:24:57.920
<v Speaker 1>episodes as kind of video game levels, where it's like

1:24:58.640 --> 1:25:02.080
<v Speaker 1>you go to a place, you meet some characters, and

1:25:02.120 --> 1:25:04.400
<v Speaker 1>then you go to another place in another episode, and

1:25:04.439 --> 1:25:08.360
<v Speaker 1>you kind of leave those characters and places behind, fascinated

1:25:08.400 --> 1:25:10.000
<v Speaker 1>to watch the show. I can't wait. Yeah.

1:25:10.040 --> 1:25:13.400
<v Speaker 2>I mean, we're in a really interesting place because this

1:25:13.520 --> 1:25:18.120
<v Speaker 2>show currently has ninety seven percent on Rotten Tomatoes, damn,

1:25:18.200 --> 1:25:21.559
<v Speaker 2>and that is reviews from everywhere, from IGN, you know,

1:25:21.720 --> 1:25:25.920
<v Speaker 2>which gave it an almost perfect score, to like the

1:25:25.960 --> 1:25:29.320
<v Speaker 2>Hollywood Reporter, all these different kinds of people who are

1:25:29.439 --> 1:25:34.320
<v Speaker 2>enjoying this adaptation. I saw lots of kind of things

1:25:34.400 --> 1:25:36.479
<v Speaker 2>that could have sounded hyperbolic, the idea that this is

1:25:36.520 --> 1:25:38.360
<v Speaker 2>going to be the first smash hit of the year

1:25:38.400 --> 1:25:42.080
<v Speaker 2>for HBO, but from people's responses, it really sounds like

1:25:42.120 --> 1:25:45.559
<v Speaker 2>they've managed to capture something about the game that was

1:25:45.560 --> 1:25:47.720
<v Speaker 2>so special while still making it accessible to people who

1:25:47.800 --> 1:25:51.000
<v Speaker 2>haven't played it. So we could be getting this could

1:25:51.040 --> 1:25:55.599
<v Speaker 2>be our first widely recognized prestige video game adaptation made

1:25:55.600 --> 1:25:58.760
<v Speaker 2>in America. So I'm very excited and i can't wait

1:25:58.800 --> 1:25:59.840
<v Speaker 2>to talk to you about it more.

1:26:00.640 --> 1:26:02.960
<v Speaker 1>Yeah, we'll be continuing our coverage of the Last of Us,

1:26:03.000 --> 1:26:07.439
<v Speaker 1>both the game and the show here on x ray Vision.

1:26:09.720 --> 1:26:12.479
<v Speaker 1>And that's it for us this week. Rosie, anything to.

1:26:12.520 --> 1:26:16.840
<v Speaker 2>Plug, plug, plug, plug plug plug, you can find me

1:26:16.920 --> 1:26:21.800
<v Speaker 2>the usual places, Instagram, letterboxed. I'm Rosie Marx if you're

1:26:21.840 --> 1:26:24.599
<v Speaker 2>interested in IM and the Waspontumania. I had a big

1:26:24.680 --> 1:26:28.559
<v Speaker 2>modoc explainer go up on IgM which was so fun,

1:26:28.640 --> 1:26:30.519
<v Speaker 2>and I put a little theory in there, kind of

1:26:30.600 --> 1:26:32.519
<v Speaker 2>building more on what me and Jason were talking about

1:26:32.560 --> 1:26:36.559
<v Speaker 2>today about Yellowjacket and his role in the movie. I've

1:26:36.640 --> 1:26:39.680
<v Speaker 2>got some cool stuff coming out at other places primetimer

1:26:39.800 --> 1:26:43.120
<v Speaker 2>nerdiced the usual spots Den of Geek. I have a

1:26:43.120 --> 1:26:45.680
<v Speaker 2>big Den of Geek cover story coming out soon I

1:26:45.720 --> 1:26:47.960
<v Speaker 2>can't talk about, but it will be out soon. I

1:26:48.000 --> 1:26:50.439
<v Speaker 2>did some cool coverage of Willow the final episode is

1:26:50.479 --> 1:26:53.920
<v Speaker 2>out today. That's a lot of fun. So yeah, just

1:26:54.479 --> 1:26:58.120
<v Speaker 2>all good stuff. And I love all bad video game movies,

1:26:58.160 --> 1:27:04.280
<v Speaker 2>so I've written quite extensively about many of them.

1:27:05.080 --> 1:27:07.959
<v Speaker 1>Catch the next episode of Extra Vision Wednesday, January eighteenth,

1:27:08.240 --> 1:27:10.800
<v Speaker 1>because I remember, we're now dropping episodes two times a week.

1:27:10.840 --> 1:27:14.720
<v Speaker 1>That's twice the Deep Dives Wednesday and Friday in your

1:27:14.760 --> 1:27:17.840
<v Speaker 1>podcast feeds. Also, if any of you caught the Golden Globes, yes,

1:27:17.880 --> 1:27:20.919
<v Speaker 1>that's right. The Golden Globes are back. They're not racist anymore,

1:27:21.920 --> 1:27:24.120
<v Speaker 1>and they've solved all their problems. They are back, and

1:27:24.160 --> 1:27:28.479
<v Speaker 1>you saw Kahi Kwan's heartfelt speech. And maybe you have

1:27:28.800 --> 1:27:32.120
<v Speaker 1>or have not seen Everything Everywhere, All at Once. First

1:27:32.880 --> 1:27:35.680
<v Speaker 1>point of order, watch Everything Everywhere, All at once if

1:27:35.680 --> 1:27:38.200
<v Speaker 1>you haven't seen it, and then listen to our episode

1:27:38.439 --> 1:27:42.000
<v Speaker 1>featuring an interview with the film's directors, the Daniels, because

1:27:42.000 --> 1:27:45.679
<v Speaker 1>they are so creative and that movie is just really,

1:27:45.760 --> 1:27:46.160
<v Speaker 1>really great.

1:27:46.240 --> 1:27:48.880
<v Speaker 2>It's really incredible. Michelle yo one too. I'm hoping that

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<v Speaker 2>this is going to continue through Awards season, and that

1:27:51.479 --> 1:27:54.160
<v Speaker 2>was just such a delightful chat. I'm ready to see it.

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<v Speaker 2>Angela Bassett one for Black Panther, so we get so

1:27:57.720 --> 1:28:01.479
<v Speaker 2>some of our fabes have been an don't forget. Subscribe

1:28:01.520 --> 1:28:04.240
<v Speaker 2>to the show on YouTube, follow xrvpod on Twitter where

1:28:04.240 --> 1:28:08.120
<v Speaker 2>we are always retweeting cool stuff. Responding to your amazing tattoos.

1:28:08.680 --> 1:28:10.519
<v Speaker 2>That was something cool that we got to do recently.

1:28:11.280 --> 1:28:13.920
<v Speaker 2>And of course check out our discord to meet and

1:28:13.960 --> 1:28:16.880
<v Speaker 2>hang out with a bunch of our rad listeners. We've

1:28:16.920 --> 1:28:18.800
<v Speaker 2>got really great mods in there. It's just a ton

1:28:18.840 --> 1:28:22.360
<v Speaker 2>of fun, and me and Jason are in there inactive too. Also.

1:28:23.040 --> 1:28:24.960
<v Speaker 2>We love hearing your nerd outs. They're one of our

1:28:25.000 --> 1:28:28.360
<v Speaker 2>favorite things. But we also know that you have a

1:28:28.479 --> 1:28:33.400
<v Speaker 2>lot of great theories, so if you want to share them,

1:28:33.680 --> 1:28:35.439
<v Speaker 2>nerd outs will now also be a place for you

1:28:35.520 --> 1:28:39.479
<v Speaker 2>to share your theories favorite shows, movies, comic books, books,

1:28:39.600 --> 1:28:42.000
<v Speaker 2>any theory you've got, send them to us. Send your

1:28:42.040 --> 1:28:45.120
<v Speaker 2>tinfoiliest fan theories in a two minute or less voice

1:28:45.160 --> 1:28:47.800
<v Speaker 2>memode to x Ray at crooked dot com and we

1:28:47.840 --> 1:28:51.800
<v Speaker 2>will discuss the ones that really spark our imagination on

1:28:51.840 --> 1:28:52.200
<v Speaker 2>the show.

1:28:52.960 --> 1:28:55.280
<v Speaker 1>And it doesn't matter if it's a show that's not

1:28:55.360 --> 1:28:57.600
<v Speaker 1>on the ear right now. Yeah, if it's at a

1:28:57.720 --> 1:28:59.920
<v Speaker 1>season's House of the Dragon, we're passibly you know we're waiting.

1:29:00.680 --> 1:29:03.080
<v Speaker 1>You could be anything that you want. If you very

1:29:03.120 --> 1:29:05.639
<v Speaker 1>want to hear have we want to hear it. Five

1:29:05.680 --> 1:29:08.160
<v Speaker 1>star reviews. We love them, we need them, we gotta

1:29:08.240 --> 1:29:11.479
<v Speaker 1>have them. Leave us the five star reviews wherever you

1:29:11.520 --> 1:29:14.960
<v Speaker 1>can leave reviews. Here's one from music My Refuge look

1:29:15.000 --> 1:29:17.800
<v Speaker 1>forward to listening every Friday. Jason and Rosie are the best,

1:29:18.160 --> 1:29:20.559
<v Speaker 1>super knowledgeable on all on things us nerds love, but

1:29:20.560 --> 1:29:22.560
<v Speaker 1>they're able to talk about it in a fun, personable

1:29:22.560 --> 1:29:26.440
<v Speaker 1>and inclusive way. Thank you, Thank you much, My Refuge.

1:29:26.680 --> 1:29:28.800
<v Speaker 1>That is what we try to do and we'll see

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<v Speaker 1>you next week. X ray Vision is a Crooked Media production.

1:29:32.160 --> 1:29:33.920
<v Speaker 1>The show is produced by Chris Lord and Soul Rubin.

1:29:33.960 --> 1:29:36.760
<v Speaker 1>The show is executive produced by myself and Sandy rhard

1:29:36.760 --> 1:29:40.880
<v Speaker 1>Are Editing and sound designs by Vascillias Photopoulos. Dilon Villanueva

1:29:40.920 --> 1:29:43.760
<v Speaker 1>and Matt de Group provide video production support. Alex Rella

1:29:43.840 --> 1:29:46.400
<v Speaker 1>for handle social media. Thank you Brian Vesquez for a

1:29:46.479 --> 1:29:48.759
<v Speaker 1>theme music, Goodbye Bye.