- yesterday
The Last of Us Part II Remastered GAMEPLAY PART 42 NEW GAME+ AFTER END
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00:00:00Transcribed by ESO, translated by —
00:00:30Transcribed by ESO, translated by —
00:01:00Transcribed by —
00:01:30Transcribed by —
00:02:00Transcribed by —
00:02:29Transcribed by —
00:02:59And ultimately, while we were very excited by this sequence,
00:03:02it's pretty fun and lighthearted.
00:03:04It just slowed things too much as we're barreling towards
00:03:07the end of the story at this point.
00:03:09So again, reminder, rough, missing audio, missing animation,
00:03:13missing gameplay tweaks, missing dialogue,
00:03:16but pretty representative of what it would have been.
00:03:18So, enjoy.
00:04:24Originally, this level was going to transition us to farm.
00:04:28We would go all the way through to the dance,
00:04:30where Ellie and Dina share their first kiss.
00:04:32Then we would play through farm,
00:04:34and when Ellie plays the guitar at night,
00:04:36she would remember the Seth incident.
00:04:38So, the opening for this was a little tricky.
00:04:41We needed it to match at least a little
00:04:43what you might expect emotionally coming from prior beats,
00:04:46because we were already purposefully disorienting you in time and space.
00:04:50Remember, you just came from this huge fight.
00:04:52To jump straight into it would have been a little too jarring.
00:04:56After some back and forth, we rooted it in Ellie's nerves,
00:04:59calling back to her hands shaking in the theater.
00:05:02But this time, for a much more innocuous reason we'll find out later.
00:05:05She's nervous, because she has a crush on Dina,
00:05:08who is the only reason why she's here at the dance.
00:05:11Something we really wanted to do was highlight the way their lives had turned upside down
00:05:18since she went down this path.
00:05:20We had this idea of recontextualizing all of our usual gameplay mechanics
00:05:24that were designed for really violent ends.
00:05:27The workbench, door bashes, throwable weapons, and even the infected,
00:05:30which is my personal favorite.
00:05:32Peppered throughout the level are moments of levity or shared history,
00:05:35all the while seeing how happy and mundane they all were before her huge revenge odyssey.
00:05:44It is not a festival without one of these throwing games.
00:05:47This one, of course, uses our throwable system,
00:05:49where you're often chucking explosive things or stunning things,
00:05:52but for a more wholesome purpose,
00:05:54although some people take this game really seriously.
00:05:56A fun aspect of this is if you did well, you could win a toy here.
00:06:00Ellie would place it in her pocket.
00:06:02If you had done this, you'd find the toy with JJ, the baby, later back at the farm.
00:06:06When we cut this, the toy made it through anyway, because it was so cute.
00:06:10It is the same one you see on the tractor at the farm.
00:06:12Ollie the elephant.
00:06:26It is not a festival without one of these throwing games.
00:06:40This one, of course, uses our throwable system,
00:06:42where you're often chucking explosive things or stunning things,
00:06:46but for a more wholesome purpose,
00:06:48although some people take this game really seriously.
00:06:50A fun aspect of this is if you did well, you could win a toy here.
00:06:53Ellie would place it in her pocket.
00:06:55If you had done this, you'd find the toy with JJ, the baby, later back at the farm.
00:06:59When we cut this, the toy made it through anyway, because it was so cute.
00:07:03It is the same one you see on the tractor at the farm.
00:07:06Ollie the elephant.
00:07:08The makeup artist is pretty simple.
00:07:10It's one of those little in-game scenes we peppered in
00:07:12to make it feel like Ellie had roots in the town.
00:07:15Hallie, our writer, mentioned that in her mind,
00:07:17an ex-girlfriend of Ellie's tattooed her arm to cover up her scar.
00:07:21So we figured this might be the only time you get to see that.
00:07:24We wanted to hint at it and allude to it
00:07:26and make it feel like there had been so much more that had been happening
00:07:29and so much more that Ellie threw away.
00:07:31So, this is one of my favorite sections, because I think that it achieves both the slice of
00:07:33the tree and the tree.
00:07:34So, this is one of my favorite sections, because I think that it achieves both the slice of
00:07:35the tree and the tree.
00:07:36the slice of life aspect of Jackson, while also being a stark reminder of how dark the world is.
00:07:41So, this is one of my favorite sections, because I think that it achieves both the slice of life aspect of Jackson,
00:07:43while also being a stark reminder of how dark the world that they live in really, really is.
00:07:50To attract attention and curiosity, one of the kids was supposed to make this adorable, messed up little clicker impression, and the others would giggle.
00:07:57We tried a version where if you got close enough, the kid might try to follow you a little before turning back.
00:08:04Since clickers are blind, and move by echolocation, for this game of messed up tag, Ellie must close her eyes and listen for when the children give themselves away.
00:08:11The thought was that these kids are in relative safety.
00:08:13They still grow up with the dangers of clickers and the dangers of the game.
00:08:16They still grow up with the dangers of clickers and the dangers of the game.
00:08:19They still grow up with the dangers of clickers and the dangers of the game, and the other's the most dark reminder of how dark the world they live in really, really is.
00:08:24To attract attention and curiosity, one of the kids was supposed to make this adorable, messed up little clicker impression, and the others would giggle.
00:08:30We tried a version where if you got close enough, the kid might try to follow you a little before turning back.
00:08:32They still grow up with the dangers of clickers and runners, and all those lessons would embed themselves in the games that they play.
00:08:38When the festival got cut, they tried to preserve this moment and move it to the front of the game, where the snowball fight is, as a tutorial.
00:08:45However, being in the headspace of a clicker doesn't really teach you how to deal with them.
00:08:50Eventually, it evolved, and they instead made the snowball fight, which was, I think, way more effective.
00:08:56For me, it's character illuminating that not only does Ellie know this game, she plays along.
00:09:01There's a familiarity with the kids that's really nice to see, especially because it's such a difference from the Ellie we see later, who has a sort of hollow normalcy that she's trying to get with JJ, but kind of fails.
00:09:13There's a hidden spot at the back that was just a bit of fun.
00:09:31It was highlighting Jackson's normalcy with something we would find in a real world.
00:09:35In the back, you would find teenagers finding some alone time with each other in a dark corner of a party.
00:09:40It was rewarding the player for peeking into a hidden corner, but ultimately redirecting them back to the festival.
00:09:45We also had versions of them smoking weed here, despite Maria's consternation, probably having gotten it from Eugene.
00:09:51Here we go.
00:09:52Okay, I thought we got this.
00:09:53We'll get to know if we get started from Eugene.
00:09:55Let's go.
00:10:25Let's go.
00:10:55Let's go.
00:11:25Let's go.
00:11:55Let's go.
00:12:25Let's go.
00:12:55Let's go.
00:13:25Let's go.
00:13:55Let's go.
00:14:25Let's go.
00:14:26Let's go.
00:14:27Let's go.
00:14:31Let's go.
00:14:32Let's go.
00:14:33Let's go.
00:14:35Let's go.
00:14:36Let's go.
00:14:38Enjoy.
00:14:40Let's go.
00:14:46Get off of me.
00:14:47Get off of me.
00:14:49Get off of me.
00:14:51Let's go.
00:14:55Let's go.
00:14:57Let's go.
00:14:59Let's go.
00:15:01Let's go.
00:15:07Let's go.
00:15:09Let's go.
00:15:11Let's go.
00:15:13Let's go.
00:15:15Let's go.
00:15:20Let's go.
00:15:24Let's go.
00:15:26Let's go.
00:15:28Okay. Okay.
00:15:58Fuck Seattle.
00:16:17Okay. Where the hell am I?
00:16:28This level, internally known as Fine Nora, was quite long in duration as we had to make Ellie traverse a far distance to the opposite side of downtown Seattle.
00:16:37The sewer section was originally longer than what we released the game with, approximately 10 minutes more.
00:16:42This was one of the few areas of the game that used water flow as part of a traversal puzzle.
00:16:47The player has to go upstream to use the current to get to the platform to reach the other side.
00:16:51We mostly cut this mechanic game wide, however, it remained in essence in the section of swimming to the aquarium as Ellie when you were avoiding the waves.
00:16:59What have we got here?
00:17:21Get me the hell out of here.
00:17:38We slowly introduced the player to consider climbing into smaller pipes and crouching in these tight spaces.
00:17:54This is to slowly build up to and encourage the player to climb into such small pipes that they'd have to be crawling on this.
00:18:00We added a tiny space just to reward the player's exploration with a pick-up item, and we made sure it was something that made sense it would find in this area.
00:18:08A canister and all the garbage that had been washed into the sewers from the surface.
00:18:30A canister and all the garbage that had been washed into the air.
00:18:56A canister and all the garbage that had been washed into the air.
00:18:59In order for the player to feel cramped, claustrophobic and desperate, we've been enforcing the traversal mechanics that allow for a tight environment which promote these feelings.
00:19:21We introduced the use of the squeeze-through so that we can keep the player feeling enclosed and tight, but without repeating the same geometry.
00:19:27Here, we changed from low ceilings with wider walls to high ceilings and tight walls to change up the spatial pacing and keep the level from repeating itself.
00:19:35I guess it would be a really shitty place to die.
00:19:45Originally, we had the waterline much higher here so players had to swim through this tight tunnel.
00:19:57However, from watching you as we surfaced from the water and over the crest of the slope, we reveal what is further in this tunnel.
00:20:03A clicker that has sprouted and the fungus has grown on the side of the pipe.
00:20:08It was great to see people who user-tested this area becoming increasingly worried as we forced the player to squeeze past the fungus an inches away from the clicker's face, all the time not being sure whether the clicker might be alive or attack them.
00:20:20Although we aren't as cruel as to force a clicker attack in such close proximity, we do have a payoff for this moment.
00:20:26This clicker momentarily turned into Joel to show Ellie's PTSD from what happened to Joel at the start of the game.
00:20:32Ultimately, we decided to save this moment for the farm level as it was more impactful there because it could become the centrepiece of that experience.
00:20:39Whereas in the sewers, we weren't able to make it as much of a narrative point and give it the breathing room and reaction time that it deserves, given the tight space.
00:20:50Oh shit!
00:20:52For the final section, we eventually opened you out into a wider area as you traversed through such tight spaces leading up to this.
00:21:10So changing the environmental pacing makes it begin to feel like we're coming to the end of Ellie's ordeal.
00:21:15An earlier iteration used the current that were shown at the start for a slightly tougher traversal puzzle to conclude the sewers.
00:21:21The ladder was clearly visible from most of the area, but the player was faced with a fascinating torrent of water they couldn't cross.
00:21:27If the player attempted to jump into the water, they were not able to swim across the ladder due to the water's speed,
00:21:32but instead they had to traverse the pipe running along the top of the space in order to get across the water.
00:21:37All right.
00:22:07This is the first time we get to see stalkers that are embedded into the walls.
00:22:21So this optional room is a nice little early extra that the player gets if they explore.
00:22:26We also use the pickups to lure players over to be close enough to trigger the stalker's attack.
00:22:30This caused quite a few jump scares with the user testers who played our game before its release.
00:22:35This is the first time we get to see stalkers that are embedded into the walls.
00:22:51So this optional room is a nice little early extra that the player gets if they explore.
00:22:56We also use the pickups to lure players over to be close enough to trigger the stalker's attack.
00:23:00This caused quite a few jump scares with the user testers who played our game before its release.
00:23:05Okay.
00:23:07Let's go there.
00:23:09Oh well you need to be close enough if they�.
00:23:12Let's go for sure.
00:23:14Oh, let's go.
00:23:15Let's go.
00:23:17Oh!
00:23:21Oh!
00:23:23Oh..
00:23:25Please also stop the夾 Yup!
00:23:29I don't know.
00:23:59Using this pipe was retained in the iteration we shipped with, as it's the last of the
00:24:11extreme methods Ellie has to undergo in order to escape the sewers, and what she will go
00:24:15through in her pursuit of revenge.
00:24:29The last ladder climb was quite lengthy, and although we could have trimmed it down to
00:24:50a shorter climb, we liked how this last segment of the journey built anticipation for whether
00:24:55there was success at the top or not after all you've been through. Ultimately, the ladder
00:24:59exits out into the subway station, which is how it connects in the final game. Ellie then
00:25:03has to find her way to the hospital from here, crossing paths with the scars for the first
00:25:08time.
00:26:01For this third and final deleted level, what we call the boar hunt sequence, this was a
00:26:08sequence pretty late in the game. It was right after the whole Seattle Abbey sequence where
00:26:13Abbey spares Ellie. And then we wanted to come back into Ellie's story, but keep it a bit
00:26:19mysterious of how much time has passed, where is Ellie now. So we're coming in on Ellie and
00:26:25she's following a trail of blood. And we wanted to mirror in a way the deer hunt sequence from
00:26:33the first game, but this time do it with a boar. And there's something with Ellie that now she's,
00:26:39she can't let go of this violence. She's pursuing it even against this innocent animal. This was
00:26:45another opportunity to show how the violence that Ellie has experienced, the violence that she
00:26:52witnessed being afflicted onto Joel, is still sticking with her and she's still experiencing
00:26:58these PTSD moments. This was a sequence that was pretty far along and was cut pretty late in
00:27:04production. Parts of it are still really rough, but the gameplay, the building blocks were all there. I think you'll have fun to see like, again, a rough, unfinished sequence of the
00:27:06that you can play. You can see all the way to the end and including a cinematic that we ended up
00:27:20cutting. And the remnants of the sequence ended up being mentioned in Ellie's journal. So this part of the story that we
00:27:28developed still made its way into the game as kind of optional stuff that you could read about.
00:27:32but here you get to experience it so as a reminder this is pretty rough
00:27:36months away from being finished but you get to see it now
00:27:51where are you
00:28:02so
00:28:32so the boar hunt was one of the hardest levels for me to work on it was a huge challenge with the
00:28:42systems that we had and we kept trying but it never felt quite right originally the level happened
00:28:48after the jackson festival which also got cut but before farm once the festival got cut it became
00:28:54the prologue to farm the intended experience is that we jump forward in time after the fight with
00:28:59abby in the theater we don't know where dina is we likely assume she's dead because she was just
00:29:03bleeding out ellie is alone her hair is short so maybe this in early iterations of the fight it was
00:29:10more arena like the player slowly whittles down the boar's health ellie gets more visceral and more
00:29:16vicious we get a little worried about her as the board gets weaker more panicked more feral and we
00:29:20start feeling sympathetic to the boar was the hope in all of these iterations especially of these wider
00:29:26areas it required custom ai and scripting to make sure it continued to feel organic as an animal but
00:29:33we must have gone through five or six iterations of the boar fight and all and every single time it
00:29:38changed pretty drastically we split it into clear phases where one was like all long range we tried
00:29:44another where you're getting close and you get the jump on it quite literally you're jumping off of a
00:29:49rock to attack it and then finally we tried a bunch where you almost sort of uh go around a bunch of
00:29:54trailers and try and try and rascal we uncovered after some time that taking down a boar over several
00:30:01phases felt very laborious and a little dramatic it was comically long it felt too boss-like a little
00:30:07too gamey we decided to cut the first few phases and we opted for a cold open after the boar had
00:30:13already been hurt off screen so that allowed us to focus on feeling like we're closing in on prey
00:30:19and to introduce the boar when it was at its most dangerous already hurt already feral much too close
00:30:25for comfort and so the thinking was it would bring us more into ellie's mindset is this really
00:30:30hunting for food or is she hunting for some other reason the gas station was built to highlight the
00:30:38boar's destructiveness since it's cramped the boar feels larger we also feel trapped with it though
00:30:46when it charges it gets to us quickly so we must be on our toes this made it more aligned with ellie's
00:30:51sort of hunting for trouble mindset listening became more important as well as moving around slowly so it
00:30:57didn't hear you could you spot it before it saw or heard you and could you get a shot off quickly
00:31:03enough so you could dodge out of the way or is the shot worth the cost after it feels like a gamble by
00:31:10the end of the fight everything would likely be in shambles the boar would burst through the back and ellie
00:31:16would follow it and finally enact revenge
00:31:38got you
00:31:46got you
00:32:16Come on, run!
00:32:17It's over.
00:32:21Nowhere to run.
00:32:46Come on, run!
00:33:16Come on, run!
00:33:46The boar kill was supposed to be anything but glorious, with the boar whimpering at the
00:33:54back of the gas station after Ellie's relentless hunt.
00:33:57After this, hearing the drone that we kinda come to associate with Ellie's trauma, we
00:34:02would hard cut to the stream where she's washing her hands and holding rabbits that
00:34:07she hunted, about to return to Dina.
00:34:09And there would be no mention of the boar.
00:34:16Come on, run!
00:34:46For more information visit www.FEMA.gov
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01:00:09Nos teem Agric contents
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01:00:31I have no need for any more
01:00:36Yes, I believe
01:00:39And I believe
01:00:43Yes, I can see
01:00:46Our future days
01:00:50Days of you and me
01:01:01There you go
01:01:11Well, that didn't suck
01:01:16I'll take what I can get
01:01:21She's yours
01:01:30She's yours
01:01:32No
01:01:33No, no, no, no
01:01:34I don't know the first thing about this
01:01:35I promise that I teach you how to play
01:01:42You did
01:01:49So what do you say, tomorrow night?
01:01:50First lesson?
01:01:53Deal
01:01:57Okay
01:02:00Do you remember the joke?
01:02:10What is the downside to eating a clock?
01:02:14What is the downside to eating a clock?
01:02:27It's time consuming
01:02:29It's time consuming
01:02:33That's so dumb
01:02:38Yeah
01:02:45Good night, kiddo
01:02:57That's so dumb
01:02:58I'll do
01:03:03Very good
01:03:04I can't wait
01:03:05Any time
01:03:06To get away
01:03:07I can't wait
01:03:08I cannot wait
01:03:09I cannot wait
01:03:10I can't wait
01:03:11I want to wait
01:03:12To get out of this
01:03:16Oh, shit.
01:03:31Fuck.
01:03:35Hey.
01:03:36Morning.
01:03:37Sorry, I totally overslept.
01:03:38Just give me a minute and I'll get dressed.
01:03:40I heard you had quite a night after I left.
01:03:44I...
01:03:45She kissed me.
01:03:48It was just Dina being Dina.
01:03:51She didn't mean anything by it.
01:03:53I was talking about your fight with Seth.
01:03:55Wait.
01:03:57You kissed Dina?
01:03:59Oh.
01:04:02I thought this...
01:04:03We're broken up one week and you make a move on my girl?
01:04:07No.
01:04:08She was probably just trying to make you jealous.
01:04:10I didn't...
01:04:11I would never...
01:04:13Oh, fuck.
01:04:14This is so great.
01:04:16I'm messing with you, man.
01:04:19I don't care.
01:04:20Get dressed.
01:04:22You're the worst.
01:04:25It's kind of fucked up you did that.
01:04:29Get your stuff together.
01:04:30We're already late.
01:04:30Smells fine.
01:04:34Smells fine.
01:04:37Smells fine.
01:04:38Smells fine.
01:04:39Smells fine.
01:04:40Smells fine.
01:04:41Smells fine.
01:04:42Smells fine.
01:04:43Smells fine.
01:04:43Smells fine.
01:04:44Smells fine.
01:04:45Smells fine.
01:04:46Smells fine.
01:04:47Smells fine.
01:04:48Smells fine.
01:04:49Smells fine.
01:04:49Smells fine.
01:04:50Smells fine.
01:04:51Smells fine.
01:04:52Smells fine.
01:04:53Smells fine.
01:04:54Smells fine.
01:04:55Smells fine.
01:04:56Smells fine.
01:04:57Smells fine.
01:04:58Smells fine.
01:04:59Okay.
01:05:29Hmm, sure.
01:05:47Hey, is Joel up?
01:05:49We got reports of infected out north.
01:05:51We have sent him and Tommy out early to scout.
01:05:54That sucks.
01:05:56Yep. Can't imagine they got much sleep.
01:05:59Definitely not as much as you.
01:06:01Shut up.
01:06:03I was just about to get up.
01:06:05I was.
01:06:07You got everything?
01:06:09Yes.
01:06:29Yes.
01:06:31Yes.
01:06:33Yes.
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