“Oh hey there” “Welcome to the episode” Wait. Alright I can’t no. I can’t do the Joel impression Anyway s. Welcome to the episode 43 of an ongoing series where we… …basically take the camera… …anywhere we want… …and we try to find secrets and new discoveries to some of our favorite games… This episode is brought to you almost entirely by Freako. Who I will be talking more about towards the end of the episode. But with that said lets get going! So we’re gonna start our depressing little adventure in the main menu! Now you would think there wouldn’t be that much to find in the main menu. But you’d be WRONG! First thing that where gonna be taking a look at is a close up of Ellie’s Switch Blade… Which is not all that exciting, but you always got to save the best for last SO!!! Lets take our self’s outside the… WINDOW( ͡° ͜ʖ ͡°) …and what do we find out here? Well… we can find our self a bird. …and a city back drop, now this is the city background for Pittsburgh. Re-samped here for the main menu. …and if we look on the other side of the wall… and start to zoom our selfs out, we can find a black disk! Not entirely sure what this was used for… But I present to you to speculate. Now you always got to appreciate pre-disaster scenery. But one thing that none of us can appriciate is… Especially in the areas like this. Is our restriction on the camera. So if we take camera outside of the house. Are we going to find Joel anywhere before he goes inside? As a matter of fact – yes you do! Look at that baby-face young Joel! Now the reason for this is that game developers often times pre-load videogame model into the scene before the cutscene starts or before they’re meant to arrive in the cutscene. So, in the Last of Us. Before we even trigger the cutscene, we can find Joel here, on the side of the house. And funny enough you can actually find Tommy. *chuckles* You remember Tommy, right? Also hiding outside of the house, before he shows up in his SUV. And here’s nice little zoom-out of the home town. One of the things you can see here, is the cityscape. And you can see here how it was pulled off. In this particular case it was a texture. No low-poly models like in Dark Souls for the Last of Us. Which is quite alright when you consider the fact that this one area for the prologue of the game is pretty expansive. Developers essentially gave us an entire neighbourhood to work with, and I am not complaining. “No cellphone, no radio. Yeah we’re doing great.” Here in this scene you can see the neighbours trying to pack their stuff, but if you take a closer look at what’s going on, it doesn’t look like they’re very well prepared. Pro tip when trying to survive a disaster: if you have nothing to pack, you might as well skip that step. Really awesome here too, if you watch the entire animation, you can actually see the mo-cap actor move back into a t-pose. So the next attraction on the Mr. Joel’s wild ride is the burning farmhouse. The question one asks of course is: what does the interior of the farmhouse looks like? And if your first answer was a solitary cell in hell. Well, I mean, I wouldn’t blame you. And now we are getting to the traffic jam. And I don’t really have many words for this, this is just really interesting looking. So one of the treats that you get is a close up of the man and the woman, and a man is pretty familiar looking. It’s actually the man from the scene earlier ago. And when the two hospital patients come out to attack, we can see that actually not much is happening to the woman inside of the car. And as for the traffic jam itself, it almost seemed like it was endless in the Last of Us. But, how far does it really go? And as it turns out, it only goes as far as the highway signs. It’s time like this when I wish I just could pick up my car, and just move it to the front of the line. And the last thing that we’re going to look at before we finally get out of the prologue, is seeing where the crouds come from. Much like the Sonic Advenure 1 episode, they’re on the track, and they hide behind the corner, because that’s where they spawn on screen. Okay so now here’s the technical goof that is actually in the player’s view. But we are going to have a better look at it. So, when maps are made they are first created with simple untextured blockmeshes. Then replaced with the actual models. But over here, they forgot to make the model for the truck trailers. They were hoping that you wouldn’t notice because they are so far away. But clearly, they’re just white blocks. But Shesez, how do you know it was a truck? Well, that’s what I’ve been told. But, seeing is believing, so here’s that same area once you reach it in the game. And it’s clearly a truck. Ey, when we zoom it out we can see all Boston! There’s that old state house right there, which is supposed to be across from the commons. And I bet you are wondering if this is an accurate road map to the city of Boston. And I’ll tell ya, it’s not that accurate. But if you look it up on Google Maps, I think it’s loosely inspired by it. So here’s the cutscene of when Joel is leaving the subway. And the Last of Us has a lot of areas that are just playgrounds for cutscenes. You are not really meant to explore them as the player. But what’s cool in this instance, is that if we move the camera freely before the cutscene triggers you can actually see the entire area that this cutscene plays out in. And this area in particular is a great example of minimalism at its finest. You can see that a lot of the bushes and buildings have either a simple geometry or just a texture in general. Essentially, if it’s not going to be picked up by the camera angle in that cutscene, it’s not gonna exist. There’s no reason for it to exist. And the way that the developers manage to avoid exhausting all this extra effort is that they knew that their characters are gonna be right outside of the subway exit. And from there they tailored the enviroment to that position. And once they got all of the cinematic cutscenes that they wanted out of the scene, they were done. *sigh* “We know you’re in there, drop your weapons and come out with your hands up!” “Really” “Emotional” Except, for the fact that Tess is already dead the second you’re outside of the door. Now in the game they want you to think that as soon as you’re running around the building you’re hearing Tess firing out some gun shots and she dies in the gun fight essentially. But, right after this cutscene is over you can see her dead corpse right there on the floor. She didn’t really put out that much of a fight at all, she just kind of dropped. So. “She took out two my men” Yeah, either that or your two men just dropped to the floor themselves. “You, take out the door!” “You, with me!” “Yes, sir!” So here’s a quick time event scene that we will look at in three different angles. Now you notice that the magic camera angles look a little bit weird in this scene. It’s because we actually had to fight with the camera in this particular case. Unfortunately, had we just left it alone it would just start rotating on its own. And so the shakiness is essentially us trying to fight with that. To make a stable angle. But one of the things that’s most interesting about this scene is that you can actually see a full animation of Ellie running up and shooting the guy in the head! Now that’s something that happens off camera completely, you are not allowed to see that as the player. “Awh, are those monkeys?” Another viewer request was to see the monkeys, at the University. Normally you can’t get a great look at these monkeys because they run away essentially whenever you get close to them. So what you’re seeing right now, is the rare upclose look. Anyways, let’s do a zoom out of the University. No matter how many times I do this, it always comes as a surprise to me, just how much is loaded into the map at any given time in most of these games. And also if we zoom into this far corner over here, you can see the science building that you visit later in the game, in the low polygonal version. “This place is not creepy at all.” Oh dear(deer), I think it’s dead. Ah, it’s best to buck up and carry on though. Now we’re going to explore the winter map, because you guys requested it on Twitter, and I love ya! What can I say, I am a croud pleaser. So if we zoom the map out, we can see the three points that you visit in the winter map. Which is beautifuly described here by Freako. Thanks man! But outside of that, let’s zoom out and move on. Ah, here comes the money shot. So many people were asking about these freaking giraffes, you have no idea. I mean they’re not even half as exciting as birds, but this is what you all asked for, so here you go. And actually, what you can see here is the ending path for these giraffes. Because after certain amount of time they just stop walking, because they are off the player’s field of vision anyway. But I’m getting a head of my self, why would I ever want to edit out a giraffe eating some leaves? Upclose. Great stuff. Okay, there’s only so much melancholy giraffe walking I can take. I’m going to have to fastforward just a little bit. So that you can check out the technical aspect of the game. Arlight, now we’re finally checking out some birds. This particular bird is a Seagul, very popular bird in the videogames worlds. And here’s nice beautiful close up of said seagul in the Last of Us. I’ll tell you something, it’s a lot better detailed than it was in the Mario Kart 64. We’ve come a very long way in bird modelling technology. Over the hill and past the Bubling Brook, is Tommy’s settlement. This is one of those clips where there’s a lot to look at but not a lot to say. It’s really all about just exporing this area that you’ve never been to before. But, I think if we try hard enough we can find a couple of things to talk about here. Yeah. Maybe one. For example, the ground is solid. That’s right, despite the fact that you’re never supposed to walk in this particular area, you’re actually able to walk freely and people stop walking in font of you. Here, in this particular scene we’re going to taking a looking at it [what?], because we can actually see where the runners spawn. If we take our selves outside of the hallway area, and little bit past the planks where they drop down from. You can actually see the room, where they spawn from. Here we got ourselves an interesting little scene, where Joel is helping Ellie up an elevator shaft. But then all over the sudden, the elevator shaft breaks, and Joel falls. But looking at this scene from a different angle, is genuinely disturbing. “Joel?” “Joel!” “I’m alright!” “You scared the shit out of me!” Yeah, right back at ya kiddo. Alright so now we want to know what happens to who I effectionally called the ‘plank boys’. After they go through the window. And as you can see, these are another two actors that were asked to move into a t-pose before ending the animation. And you can see them moving into the t-pose if you look at them off screen. So what we are looking at here, is the University. And what’s particularly odd about this area is that there are objects on the outside of the walls. Things you can find here are clipboard and cabinet shelfs. Ah, very strange. As well as windows shades and pillars. There’s all sorts of junk out here. I’m not entirely sure why that ended up happening. Another popular Twitter request is the Hospital scene. Was there anything interesting to find? Well, there was one thing which I thought was kind of cool, and that is to save on time, Joel actually warps to that door, that shows up at the end of the cutscene. But did you happen to know something a little bit interesting about that room? Yeah, it’s an identical surgery room to the one we were just in. Only this one leads out to a hallway that is more convinient for the developers I guess. I don’t… I don’t… I… It’s sometimes, developers make strange decisions, but hey you know, whatever, it’s a neat little find either way, right? So here in Left Behind DLC, you have Joel behind the shutter waiting to be rescued. And if you actually go in there you can actually see that he’s a partial model. Which is actually pretty hilarious, kind of reminds me of Judge Doom after he gets squished in Who Framed Roger Rabbit. But anyways, I want to take this time to thank Freeko who provided all of the footage for this episode. But not only that he also managed to get the Boundary Break t-shirt on Joel, which was really surprising to me because it’s a PS3 game. And he also helped to make a thumbnail for this episode, so he essentially did half of the episode. And I feel so bad that I couldn’t pay him; I am not a rich man. And as it turns out he can actually do Uncharted 2 and Uncharted 3. And even though he didn’t ask for payement, I think it would be awesome if we could put something together so that we can essentially fund him to work on these two episodes. I set up a GoFundMe that you can find in upper right, and in the video description down below if you’re interested if not, I’ll figure something out. Alright guys, that was the Last of Us, the very first Play Station 3 exclusive game on Bounday Break. “I guess you could say: ‘ It’s the first for us ‘ ” “That was painful, I’m sorry” That was alright I really wanna thank Freako, for helping me do this episode, I already explained this a second ago. But, thank you again so much Freako, for making this episode possible. Xenoblade should be next week. The reason why we went with the Last of Us this week, is because the circumstances for release special, and I didn’t want keep Freako waiting after he just put in so much work to help out the show. So next week will be Xenoblade Chronicles. “Waiting for Derek” Waiting for Pat, because that’s like one of his favourite games, so. “Yeass” I heard that some people are getting unsubbed, thanks YouTube! So if you miss an episode, it could be in the playlist. “It might be in that box.” That’s right. “It could even be a boat.” Arlight, take care guys. “Ahh I’ll see you in a bit!” Bye.