Troy Baker

We do have Ellie and Dina that are exploring, you know, this fractured Seattle, and when they find it is, you know, 11 years after the opening of the episode, and we're seeing already the remnants of whatever that conflict is, the burnt skeletons that were, like, in the... Tank. In the other tank. Yeah. And she even says, you know, they...

We do have Ellie and Dina that are exploring, you know, this fractured Seattle, and when they find it is, you know, 11 years after the opening of the episode, and we're seeing already the remnants of whatever that conflict is, the burnt skeletons that were, like, in the... Tank. In the other tank. Yeah. And she even says, you know, they...

Or they smell like they're just like the Apollo 1 astronauts, which we get to see, you know, a nice little insight into her love for space. But then we also see things like the pride and the rainbow flags and just the absolute unawareness of that.

Or they smell like they're just like the Apollo 1 astronauts, which we get to see, you know, a nice little insight into her love for space. But then we also see things like the pride and the rainbow flags and just the absolute unawareness of that.

So there's these wonderful markers of what we would consider, you know, the past for them and how just like visually we've seen the world grow up around that and in a lot of ways, occlude or completely cover that. But there's still some things that poke through. And like in this music store, Ellie finds a guitar.

So there's these wonderful markers of what we would consider, you know, the past for them and how just like visually we've seen the world grow up around that and in a lot of ways, occlude or completely cover that. But there's still some things that poke through. And like in this music store, Ellie finds a guitar.

Neil, for you, obviously you spend years working on making the game, and it's not just, oh, here's the first pass of the script, and we'll go shoot it with the actors on the vocab stage, and then we'll put it in the game, and we'll add lighting, and it's done.

Neil, for you, obviously you spend years working on making the game, and it's not just, oh, here's the first pass of the script, and we'll go shoot it with the actors on the vocab stage, and then we'll put it in the game, and we'll add lighting, and it's done.

I know that you iterate and iterate and iterate to get it perfectly, even before it hits the page, much less hits the stage or is in engine. But what is it like for you when you see, okay, here's another opportunity to adapt one of these really impactful and almost iconic scenes from the game. When you see that's going to go up for adaptation, like what's your process like of like letting go?

I know that you iterate and iterate and iterate to get it perfectly, even before it hits the page, much less hits the stage or is in engine. But what is it like for you when you see, okay, here's another opportunity to adapt one of these really impactful and almost iconic scenes from the game. When you see that's going to go up for adaptation, like what's your process like of like letting go?

Because you could just sit here and iterate on it again. Is there a way you go, we found the perfect version or is it, how do you let go of it? I guess is the question.

Because you could just sit here and iterate on it again. Is there a way you go, we found the perfect version or is it, how do you let go of it? I guess is the question.

After they leave the music store, Ellie and Dina travel to the TV station and what they find there is, in no uncertain words, horrifying.

After they leave the music store, Ellie and Dina travel to the TV station and what they find there is, in no uncertain words, horrifying.

I also love the look that's on Ellie's face, Bella's face, of I know how to attack this person. Because what we saw in episode one is like, you have no idea what you did. you are fucking with the wrong person and takes him down. It's so good. So good.

I also love the look that's on Ellie's face, Bella's face, of I know how to attack this person. Because what we saw in episode one is like, you have no idea what you did. you are fucking with the wrong person and takes him down. It's so good. So good.

That also, the scene in the TV station, especially find the disemboweled Seraphites, just that moment of them hiding is just such, I mean, it's like, man, I felt like I was watching the game. It's like, I want to pick up a controller and move from hiding. I've said it a million times.

That also, the scene in the TV station, especially find the disemboweled Seraphites, just that moment of them hiding is just such, I mean, it's like, man, I felt like I was watching the game. It's like, I want to pick up a controller and move from hiding. I've said it a million times.

Right. So far, the biggest threat that we have encountered has been either the wolves or the Seraphites, the wolves or the Scars. We get to see the other threat that is lurking, and that is in the tunnel where we encounter our first horde.

Right. So far, the biggest threat that we have encountered has been either the wolves or the Seraphites, the wolves or the Scars. We get to see the other threat that is lurking, and that is in the tunnel where we encounter our first horde.