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Gamar app with the British Museum game featured on BBC London News

The British Museum
has turned to modern devices to try and entice its visitors the museum has teamed up
with a small technology startup in Farringdon to create an app which will enhance the experience, well for some, Jill McKenzie reports. Brought over from ancient Greece thousands of years ago,
the Elgin Marbles are top of many tourists list but they’re not for everyone. The
Parthenon Gallery is one of The British Museum’s most
famous and popular galleries but it’s not exactly the most
child-friendly. There are no bright colours here or things to engage with so the hope is that this app can change that by giving children a fun and slightly competitive way to learn
about the sculptures. So in this game, we simply have to match
the silhouette to the correct sculpture. This is one of
a number of games and challenges which guide children around the exhibition We simply walk up. We point the
device too, and that sculpture comes to life and if we tap, just like that then we get some
information. At the minute we have the details on the sculptures but it’s very adult oriented. With this game we’ve created a child friendly version of that
text and obviously with the game now I think
children are more inclined to play and to observe what they’re looking at to
learn about it than if it’s just the sculptures and the normal museum environment
that they’ve had in the past. We use the technology that they’re really comfortable with,
there’s interactions that they’re really familiar with, which are exciting and engaging and that pulls them in, in a kind of way that captivates; whilst delivering something
that they’re learning about, at the same time. But could this soon be more than just a
way to keep the kids entertained? The company behind this want to use their
technology to change the way we all interact with our city. A lot of mobile or tablet games are head down into your device and shut off from the
world. It’s quite a new experience to have a game that encourages you to put your head up to engage sculptures. It’s already eyeing
up other places in London where this could work. Perhaps the days of the audioguide are
numbered. Jill McKenzie, BBC London News…

Lie Detector Test on RZ Twin FACE REVEAL! is the GAME MASTER a Liar? (Quadrant Clues to find truth)

let’s get upstairs into a face reveal okay Zamfam RZ twin is here right
now and so Matt is going to make sure the handcuffs are on her so she cannot
escape I’m gonna go get changed in the back room and Matt when you’re done meet
me in the back okay because we’re not taking them off it’s putting in a
different spot you make sure that you can see hey Zamfam
it’s Rebecca I’m with my husband Matt and you guys know we just got changed
because we spent 24 hours inside a treehouse and at the end of it RZ
twin showed up and we ended up trapping her that’s right we put her in handcuffs
and we drove back to LA and she’s in our living room right now yes our cameraman
Daniel is currently on his way over here with a lie-detector mixture so we can
get some answers and get her to tell the truth and we’ll definitely take it off
her mask so Matt does not really trust Daniel right now no I’ve been reading
your comments and everybody thinks that Daniels been super suspicious so I’m
gonna set up a camera that he has no idea about just in case anything happens
comment below if you guys trust Daniel or if you think we should trust Daniel
because right now we’re kind of 50/50 I trust him Matt does it but yeah well I
guess we’ll see only a few minutes away so I’m gonna go said if they came right
now yeah we need to do this quickly also we need to make sure RZ Twin does
not escape okay good job Matt there’s no way she
can escape let’s set up that camera out of here okay okay all right you have a
camera we’re gonna be over here if I put the heat on it over here somewhere like
behind the fruit what do you think yeah Daniel won’t look there he’s gonna come
in and go right to RZ he’s gonna see exactly what he wants to see which is
the twin let’s do this real quick a little bit lower you really notice that
say it right yeah and honestly I will just distract Daniel to make sure to get
it look that direction comment down below if you think that we can trust
Daniel or do you think we’re gonna actually see something on this mystery
spy camera device I hope we don’t I got it I got the lie detector make sure I
know that oh my gosh yeah so Daniel why don’t you
go and give that to her so that you’ll actually tell the truth okay okay contacting me and see your face she looks just like me but with red eyes
she really is my twin drink this do I have to just drink it this tastes
familiar take that – okay so what should we do now I mean it looks like the lie
detector mixture is starting to take effect
yeah why don’t you do the questioning I’ll keep an eye on her make sure she
doesn’t escape me she is your twin so okay oh yeah I’ll
ask for the questions okay zamfam comment below some questions you have
I’m gonna be asking her as many questions as possible so we can get as
much information as we can so I think I know the first question I need to start
with if you want me to talk Daniel needs to move back to this meeting hiii-yah Daniel you should just all
right right so as I know the game master is missing did you take him so do you
know where he is now no because they don’t trust me I’m still
trying to figure it out who do you work I work for the quadrant but when we had
battle royale out in the woods you said that you worked for the gamemaster I was
only teaching master Daniel yeah what she’s lying to you you
can’t trust her but she took the lie-detector mixture maybe I maybe I
didn’t make it strong enough maybe I didn’t follow the directions but I I
think I have an idea I think I didn’t get more information out of her if I
help you out a little bit more okay are you sure yeah all right let’s just keep
going Daniel in it if I need to step it just do it
so RZ twin you have tricked a ton of my youtuber friends including phase rug and
Carter sharer but your voice does not sound anything like me how did you do it anything fan get my merge Lincoln bio
it’s not whoa that was weird has Zamfam comment below if you think she
sounded like me just now when she did that and shout out to people wearing my
match right here did it Lincoln bye so why would you go
rogue because I wanted to stick to the original plans that the game master had
said when he recruited me she changed his mind I didn’t like that
what do you mean original plans the gamemaster originally wanted to take
over YouTube he used to be a member of the quadrant what why is that so hard to
believe did you know that Daniel I had no idea
he was a part of the quadrant Sam fam comment below if you had a feeling that
the gamemaster in the Quadrant or once working together I can’t believe this
like it explains a lot of stuff in the dollhouse why the game master said that
right away do we trust the game master no idea you need to find him though yeah
you’re right okay let’s get some more info all right okay so if the GM is now
good why do you work for the quadrant that’s what I was programmed to do I’m
just sticking to the player programmed what does that even mean okay we heard
something about e to when we were in the pink escape room house which was like
where he’d been quadrant as spy ninja training what is e to it’s an event of
the plan that will not fail this time what are those plans you haven’t told me
yet I’m still trying to her her toast okay Sam fam I need you guys to comment
some questions that you would ask ours a twin Daniel can you think of any more
yeah but I bet you the zamfam think it’s a good one yeah so you guys comment
them I have one more question that I need to ask her which i think is very
important okay okay our Z twin my last question for you
right now is when is e – Daniel keep an eye on them don’t worry if this is a
trap do you think the quadrant is working with you see yeah she said they
were here do we go out right now let’s go and try and see if we can see exactly
what’s going on okay I think we need X or out there right now RC twin is in
handcuffs and Daniel’s watching her see who’s not like she can do anything
exactly okay let’s just take your time trying to figure this out if you didn’t
do a battle royale or trained for this you’re right
that could happen right alright three two okay I don’t know what I’m doing I don’t
know when he comes through pretty cool
like I don’t know how did he disappear let’s go check on thing Yellin noisy twins gone are z20 skate I don’t know I
was just watching her I took my eyes off her for a second and she just like
what’s out there just out of him where’d she go you see take anything or
I don’t know I got I saw her run that way she got her mask I think and then
she ran that way and when she left oh my gosh okay so I don’t know I maybe maybe
she got something that I don’t can we track her at all or what we do you guys
stay here just check to see if maybe she took something I don’t know eivol go to
the control room just by myself okay I stay here and then I’ll go see maybe I
can intercept a message or something okay
you can you guys just stay I’m okay okay just just stay here you okay actually twin escapes you’ve
been here cut there’s no way there’s no way I don’t know Matt I kind of don’t
trust Daniel now – you know what I can think about it I have a security camera
footage yeah yeah look at the footage all right Sampey I’m comment below if
you know what happened yes Oster that was silly
okay okay so Daniel had no idea this camera was on so if he did anything
suspicious we’re gonna be able to know exactly okay can you open this up oh
zamfam I almost forgot at the tree house there was a code that I’ll up you
guys help solve it okay I’m gonna start looking at the tape well
Matt is setting this up and we’re about to look at the footage of Daniel to see
what exactly went on and what how are see to an escape this is so confusing
this you guys remember we found this at the tree house and there was a
three-digit code we were missing from the pink house alright well thanks to
you guys we know the code I almost forgot to do this this is another spy
gadget president I have 7 for 87 for eight matches thumbs up button if you
were one of the ones that figured out that code and wet back to the pink house
video okay three two one this is one of the six spy gadgets that the quadrant is
using to make their mystery device what is it
know what what is that comment the world what you think this is I’m sure I got it
myself okay okay here you get the card reader okay I
trusted Daniel but I don’t know I don’t know how RZ Princeton I didn’t want to
go to the control room out it yes so fast
what is it not do you know what RZ tween girl falling down

❌ (ENDED) FREE Steam Game – Company Of Heroes 2

Hello and welcome to Low Budget Gaming
and welcome to another free game and this time its directly on Steam and the
game is Company of Heroes 2 so the game is celebrating his fifth anniversary and
they’ve decided to give this game away from today until the 10th of December
10 a.m. Pacific time so Monday until Monday at 10 a.m. you can claim this
game and it will be yours to keep forever and they’ve also got a sale on
the DLCs so 75% off on each of the DLCs you can pick them up if you like Company Of Heroes 2 is a world war 2 strategy game multiplayer so yeah check it out if
you’re interested and thank you for watching see you in the next one

Cubo6 free program to create educational games.

Cubo6 serves to make educational games You can visit the Blue Sky web We click on the “English” option We choose a game to play now Read the game rules carefully First question appears Shoot the right answer with the left mouse button If you crash you´ll lose a heart In the end, the program tells you the number of errors You can create new games easily We set a title and we will create a set of text questions We set the first question, the right answer and 5 wrong answers We save the question and write the second question We save the question and the whole game. Now we will play the game just created Our game, created in a minute Works! Now we are going to eliminate a game. It`s simple. Now we will create a game with images We will choose the image of the question with the “Browse image” button We choose any image (jpg or png) from our computer Fill in correct answer and wrong ones And repeat for each question Now we test our game It works. Png`s transparent background images are very nice With the “Modify” option we can modify a game 🙂 In addition we duplicate the old game, so we can duplicate the game and if we want, to modify one of them Now, if you like, you can delete the old one If you like the program remember to click on Blue Sky for know this magnificent project

EVE Online – No Downtime Announcement

December 7, 2019 | Articles | No Comments

Infrastructure… the backbone of modern society. In this hidden location the plumbing for the most complex systems of New Eden is kept under strict control to ensure that it runs like clockwork. This National Cookie Day, CCP will attempt something that has never been done before… … rolling the dice and disrupting a tick in time. Stand prepared. 48 hours… all action… no downtime. Coming soon to a Tranquility near you. (December 4th)

The Last of Us (feat. Writer & Creative Director Neil Druckmann)

Hi, my name is Neil Druckmann
and I was the writer and creative director of The Last of Us. And this is Lessons From The Screenplay. – [Narrator] Many people
don’t equate video games with storytelling. They might think they’re
simply about button mashing or blowing things up. But video games can tell
deeply emotional stories with rich character arcs that you don’t simply watch
unfold, you participate in. The 2013 game, The Last of Us, from developer Naughty Dog
is one of the very best examples of how to tell a story through the medium of a video game. In The Last of Us, you play primarily as a character named Joel, a smuggler who has to escort a teenage girl, Ellie across a
post-apocalyptic United States. And although the experience of playing a game is different
than watching a film, the writers crafting the story face many of the same challenges. – Writing dialogue on the page is one of the last things and one
of the easiest things you do. A lot of the hard writing is structure. What are the beats that need to happen? How is each beat unique? How is it it all working towards this ultimate message you’re trying to say? Once you have that, then you kind of dive in deeper and say, okay,
what are the tools we have? How do we make these interactive moments tell the story more so than the dialogue? – [Narrator] As a long time gamer, I’ve always been fascinated by the unique experiences
created by video games, and I wanted to know how to create a compelling narrative
in this different medium. So I sat down with writer and creative director Neil Druckmann, who was nice enough to
answer all of my questions. So today we’re going to
look at the differences and similarities between storytelling in film and storytelling in games. To explore the techniques
used to convey exposition, establish character arcs, and teach gameplay in an emotional way, And to examine the way a game can make the player truly experience a story. Let’s take a look at The Last of Us. Ah cool, so why don’t we just
start with, what are some of the differences in
telling a story in a movie versus telling a story in a video game? – In a movie it’s so much about shots and how do you tell the story
visually on the screen. Games are interesting, in that you could have that, right? You have cinematics which
operate like film and so you need to be very familiar
with the cinematic language. Then there is another layer of it which is of course the thing that makes games unique
is the interactive space. [Narrator] The fundamental difference between how the audience
experiences a story in a video game versus a film is that
a film goer is passive, whereas the player has agency. In film you watch characters and empathize by observing their
situation, their desires, their obstacles, their choices. This is true for video games as well, but there’s also a more direct connection. You develop empathy through control. – When you’re playing a character, you connect with them in
this very subconscious level. I don’t even know how to
articulate it, but you hear people say, “I am Joel.” Or that part when they’re finally playing as Ellie is totally unique to gaming, and we watch this over and
over again as focus testers, get to that part. They’re like, “Oh my God, I’m Ellie.” And you see, they change how they play because now they’re seeing
themselves as this child, this teenager that doesn’t have the stature of this large man. And they play differently, and they look at the world differently. And it’s how you can use control of a character to create
such strong empathy. [Narrator] This connection can be used to give the player the
most compelling perspective for different moments of the story. One of the clearest examples of this is in the very
beginning of the game. – We had a very different opening. We had an opening where you played as Joel and you went to
the neighbor’s house, You have to put one of these infected down and then run back and go get your daughter and then you’re playing as
Joel every step of the way. And there was something
about that opening, it just felt very familiar. And then in brainstorming with some of the designers and other people, we had this aha moment of like, “Well, what if you didn’t play as Joel?” – Dad? – [Neil] What if you saw the whole opening through his daughter’s eyes? – You in here? Where the heck are you? – [Neil] People are just
more scared playing a kid than they are a capable adult and as you’re going around the house looking for your dad and you’re
seeing this thing on the news. – There seems to be some
commotion coming from the– – Get the hell out of here right– – What was that? – It just gets creepier and creepier. – There you are. – Sarah, we have got to get out of here do you understand me? – Yeah. [Narrator] As Joel, his
daughter, and his brother try to escape the erupting chaos, the player experiences everything from the point of view of Sarah, until– – Look out! [Narrator] Sarah’s leg
is hurt in the crash, so you now play as Joel,
suddenly responsible for trying to carry your injured daughter to safety amidst the
outbreak of an apocalypse. (screaming) – Keep looking at me baby. – [Man] Come on, run! – [Narrator] During this sequence, you can’t fight or hide, all you can do is keep running
and hope you don’t die. The player feels the stress and fear, because they are the
characters in this situation. (Screaming) – Daddy we can’t leave him. (screaming) – [Narrator] But this sequence does more than simply provide engaging gameplay, it establishes critical
character backstory. – Our characters have their own wants, needs, obsessions, loves. And we’re saying when
you’re playing our game, we want you to tap into who they are and play the game
as them, not as you, as them. [Narrator] The Last of
Us, like most films, is a story about a protagonist
on a journey of change. – It’s my daughter, I
think her leg is broken– – Stop right there! – [Narrator] And like many
protagonists, Joel has a ghost, a traumatic event that
makes him afraid of change. (gun firing)
(screaming) In this opening, we’re
living through Joel’s ghost. – Oh no, Sarah? Sarah? – [Narrator] After the title sequence, the game picks up twenty years later. After briefly meeting Joel’s
smuggling companion, Tess, the player takes control of Joel as they make their way to
recover some stolen weapons. Here, the game uses
environmental storytelling to provide exposition. – [Announcer] Required to carry an ID at all times,
compliance with all city– – [Narrator] What the
player sees and hears while moving through a space
provides critical details about the world and how it operates. There’s a good summary of this section in the script for The Last of Us, which allows me to quickly answer one of the questions I had going into this video. What does the script for
a video game look like? The answer is, it depends. Depending on the purpose of the script and the personal preference of the studio developing the game, the script format can range from proprietary story software to massive Excel spreadsheets. – For The Last of Us, once
the game was completed, all of the various story documents were conflated into a single script. In this final script, the cinematics and key story moments are written in traditional
screenplay format, while the gameplay is summarized in prose. Here’s the prose for
this section of the game. “The city is under constant martial law with soldiers posted at street corners” “In another section of the city, suspects are lined up on their knees with their hands on their head. A medical solider with a
handheld scanner goes down the line, scanning people
for the fungal infection. A woman tests positive and argues that she’s not infected. Soldiers hold the woman down while the medical soldier
injects her with a syringe. The woman convulses before dying. Another man on his knees
stands up and runs away. Without hesitation a
soldier raises his rifle and shoots the man.” (gun firing) It’s clear that this world
is a dangerous place. So how is the player supposed
to navigate all of this? The Last of Us uses the narrative to teach gameplay mechanics
in an emotional way. – So usually when we start
production on the game, the beginning is one of
the last things you work on because that’s when you have
locked down your mechanics, okay, now we need to train them. We have to expose the player to each thing their character can do, but you don’t want to
just throw a big text box on the screen, that’s your last resort. It’s like, are there ways
through the narrative that you could teach them? – [Narrator] In the game, as
Joel and Tess are on their way to recover their stolen weapons there’s an explosion
in the quarantine zone. (Explosion) So they have to run and
heal their injuries. – Patch yourself up all right. – [Narrator] Following Joel and Tess along their usual smuggling
path gives a sense of their routine and
provides an opportunity to learn how to reload weapons. – All right Texas, boost me up. – One of my favorite ones that we did was, all kind of shooters have, you
press L2 to aim, R2 to shoot. I’m like, “Okay, what’s an
interesting way to teach that?” And in the opening of the
game it’s like Joel and Tess are trying to get to this guy, Robert, they’re using
their smuggling routes. One of them has Infected in it. – Hold up, spores. – And as they crawl through, they see a guy on the
ground, another smuggler, some of the environment
has collapsed on him and he begs you to kill him because his mask broke and
he breathed in some spores. – My mask broke, don’t leave me to turn. – and then this box comes in, it’s like press L2 to
aim, press R2 to shoot. Then they’re like, “Oh, that’s how you’re
gonna teach me to shoot.” So again, it’s a way to
expose you to a mechanic, teach you it and put some emotional weight behind it and show you this
is the world that you live in. – Poor bastard. – [Narrator] After some
unexpected complications, Joel and Tess learn that the only way to get their weapons back is to smuggle some very unusual cargo. – Joel give me a hand with this. Ellie, a fierce fourteen-year-old girl, charges out from a nearby
room, switchblade in hand. – Get the fuck off of her. [Narrator] Tess catches Ellie’s arm, Ellie struggles to get free. – Let her go. – [Narrator] The relationship between Joel and Ellie
is established quickly in their very first cinematic. – I want you all to watch over her. – Bullshit I’m not– – Ellie. – Going with him. Cinematics are the part of video games that are most similar to
film, and I was curious when and why they choose to use them. when do you use cut scenes? when do you not? Is there any kind of logic or decision making that goes into that? – Yeah so usually cinematics is for specific emotional turns where we wanna slow things down or we wanna look at someone’s face. Get a nuance of a closeup performance that you can’t during game playing. So for example, Joel
coming home and talking to Sarah and her giving him a watch, there’s not gonna be a lot of
interesting gameplay in that but we still need to
establish a relationship with characters, we’ll
use a cut scene there. – You like it? – [Narrator] Setting up the
contentious relationship between Joel and Ellie is
an important plot point. In fact, it’s the inciting incident of the game and being able
to see the performance of the characters faces
allows for nuance and subtext. – What are you doing? – Killing time. – Well what am I supposed to do? – I’m sure you’ll figure that out. – Your watch is broken. – [Narrator] As soon as the characters get outside the quarantine zone, it’s revealed that Ellie
is immune to the disease, that within her might be the cure. It’s now up to Joel to protect
Ellie and get her to safety, and we know from having
played the opening sequence, where he was unable to
save his own daughter, why this is such an emotional task. – So much of the game is the relationship between Ellie and Joel. If we don’t succeed and make you care about this relationship, make you feel these
characters love each other the way a father and a
daughter can love each other, this unconditional love,
we will have failed. Everything is depending on that. – Is that everything you hoped for? – Jury still out but man,
can’t deny that view. – [Narrator] But if a game
simply used cinematics to display the relationship
between two characters, it would just be a movie. So the question is, how do you make the player
feel a relationship? – When you’re playing the game, again with the statement of, we need you to care
about this relationship, we need these characters
to rely on one another and so much of our game is action and combat. And if Ellie’s just hiding
and not participating, then you don’t care as much about her. She starts feeling more like a burden. [Narrator] In The Last of Us, the player is constantly
trying to overcome obstacles. Everything from solving puzzles
to fighting off infected. As you play, you’re accompanied by Ellie, a NPC, or a non-player character, who literally helps you
overcome these obstacles. – You have two characters
and you constantly have to think about how do I
have to rely on one of them. So I might have a gate
that I can’t get past. – Shit, it’s jammed on the other side. – [Neil] If I’m with Ellie I
can boost her over the gate, she can open it from the other side so I’m learning to rely on Ellie. If I came on this gate
and I didn’t have Ellie, I’d have to find a different solution. – Okay, ta-da. – [Narrator] Since the
player is constantly in life or death situations, Ellie
literally helps you survive. – Ellie can save you, Ellie can pick up a brick
and throw it at a dude and give you just enough opening for you to put him down and survive. Likewise if someone grabs you
and pins you against the wall, Ellie might, if she’s around, jump on the guys back and stab
him to give you that opening, again, it’s this feeling very unique thing to games of like, I’ve learned
to rely on this person, now when they’re not
around I want them around. But Ellie isn’t there simply
enhance game mechanics, there is performance happening even when you’re just walking around the city. – The way she’s talking, and the way she’s experiencing the scene, and her demeanor is gonna
change how you feel about her. So for example, after Ellie and Joel get in a fight in the hotel in Pittsburgh. – Why didn’t you just hang
back like I told you to? – You could see her, she’s
crossing her arms more. She’s more standoffish, she’s talking less than she’s used to. Where again, in a film, you can control the pacing and the exact shots here just like oh, this person that’s walking with
me is behaving differently. This is what it feels
like to be in a fight. – [Narrator] The behavior of the NPC changes how
you feel about them. So now that we’ve covered
all the various ways the game makes the player experience
Joel and Ellie’s relationship, I want to look at one last sequence. It’s one of my favorites in the game and I think it demonstrates how all these pieces come together. Toward the end of the game, Ellie has a traumatic experience where she’s taking by a group of cannibals and narrowly
finds a way to escape. – She grabs this machete and she kills David in
the most brutal ways. Just hacks him, and even past
the point where he’s dead, and you’re seeing this effect now, her being on her own, fighting all these people
killing, murdering. It’s having a toll on her. And we leave them just as Joel
comes in and pulls her off of David and holds her and embraces her like his own daughter. He even calls her baby girl, the same phrase he used for his daughter. – Oh baby girl, it’s okay, it’s okay. – [Narrator] The game cuts
to a few months later, but the weight of Ellie’s
experience remains. – Where Ellie, the whole game
has been the optimistic one. The peppy one, she does jokes. She’s the one that calls
Joel on his bullshit. She’s just got all this energy, and you’re coming in, and
she’s quiet, and she’s distant. – You know, once we’re
done with this whole thing, I’m gonna teach you how to play a guitar. Yeah, I reckon you’d really like that. What do you say, huh? – She doesn’t respond, and you get this interactive
prompt above her head that you’ve had the whole game where you can talk to her and be like, and you hit it again, Ellie. And you hit again, Ellie. – Ellie, I’m talking’ to you. – Huh? Oh yeah, sure that sounds great. – But you can tell something
is really off with her. And that was important for us
to show that Ellie has an arc, that Ellie starts as this
very innocent, naive person. And you can’t survive in this world without it corrupting you in some way without it having some
toll on your personality. – [Narrator] Here, the behavior of the NPC you’re paired with, is once again revealing character. Moments later you’re in a bus station and need to boost Ellie
up to grab a ladder, something you’ve done time
and time again in the game. – Maybe we could use that ladder? – [Narrator] You’ve done it so much, that now the game can
subvert your expectations. – So there’s a ladder on top of a ledge, and you call Ellie, and you
click it and Ellie’s not there. – Here we go. Ellie. – And you turn around and you
see she’s just there sitting, despondent. – Ellie. – What? – The ladder, come on. – Right. – [Narrator] It’s hard to convey how surprising this is without
actually playing the game, but it’s one of my favorite moments in any game I’ve ever played. A perfect example of how to use gameplay mechanics
to convey emotion. You feel what a toll this
journey has had on Ellie. – [Neil] And then you boost her and she starts lowering this ladder and something catches her off guard. And she’s like, “Oh my God.” And she just drops the
ladder and runs off. – Oh my God. – And now your panic starts
to say, “What did you see?” You yell out to her. She doesn’t respond. So you have to pick up the ladder, climb up and then go find her. – Ellie! – [Narrator] Here, empathy
through control kicks in, the girl you have to
protect may be in danger and it’s up to you to see if she’s okay. And that’s when this happens. – You see this? Shh, don’t scare it. – I won’t, I won’t. – The giraffe moment is very much a result of really tight structure. We just came from a sequence where we want to show the
toll of all the violence, the trauma it has on Ellie. You just feel so bad for
her, this kid is gone. Maybe she’ll never
recover and Ellie is just over the moon seeing these giraffes and you can go up to them
and you can pet them. – Hey there. So fucking cool. – And the reason that that is there is to bring the child back, is to show she still has that innocence. She still has that hopefulness. She could still smile despite all the horrible things these
characters have experienced. She still has life within her. – [Narrator] We get the
briefest of cinematics where we see their faces during this emotional turning point. – Is it everything you were hoping for? – It’s got its ups and downs but You still can’t deny the view, though. – [Narrator] And we are one step closer to the completion of Joel’s arc. – The kind of life that Joel
has suppressed and shut down, comes through with Ellie. And then it’s like, that’s
probably the happiest moment. Coming from such, the dark of winter to this really happy moment, that already sets us up for the darkness of what we need to head into. To me, great story structure
is constantly doing this. And that was what we were
after for the sequence. – [Narrator] This quiet, happy
moment sets the player up for the games darkest sequence yet. What is your goal when creating a story? When creating a game, What experience do you want
people to walk away with? – What we wanted was to have
the player be entertained. I think if it’s not entertaining, and it’s boring, you’re
not gonna stick with it. Love these characters
the way we love them, understand them, and
just making you reflect on these choices and question like, “What would I have done?” And I think you only feel the weight of that question if you
experience a whole journey with these characters. – [Narrator] Joel and Ellie’s
journey is not just fun to play, it’s a powerful story experience that cleverly uses the tools of its medium to deeply affect the player, making sure we won’t forget our experience playing The Last of Us. If you’re interested in
doing your own storytelling in games, it would obviously be good to know as much as you can about both how to tell stories and how to make games and One of the greatest resources for learning new skills is Skillshare. Skillshare is an online
learning community for creators, with thousands of classes in game design, writing, filmmaking, and more. Premium Membership gives
you unlimited access, so you can join the
classes and community’s that are just right
for you and your goals. If you’re looking for a fun way to get a glimpse into working with 3D modeling and animation software, I recommend checking out
Gustavo Torres’s class, “Motion Graphics in Cinema 4D: Design an 80s-Inspired Animated GIF” In the class he uses Cinema 4D, Photoshop, and After Effects to make a
cool 80s-style animated gif. You can start the class today for free by heading to the
link in the description below. An annual subscription is
less than 10 Dollars a month, and by signing up with that link you get
two months for free. So head to Skillshare
and start learning today. Thanks to Skillshare for
Sponsoring this video. Hey guys, hope you enjoyed the video. I want to say thank you to Neil Druckmann and everyone at Naughty Dog and Sony who helped to make this
interview possible. We actually talked for
about forty minutes, so there were parts of the
interview that had to be cut. But, I’ll be releasing these
extra clips to our Patreons. So if you wanna help support
the channel and get access to exclusive clips from
my interview with Neil, head to the Patreon for
Lessons from the Screenplay. Thank you as always to
the Patreons on Patreon and supporters here on YouTube for making this channel possible. Thanks for watching and
I’ll see you next time.