Welcome back to Red Dead Redemption! In part four, we analyze our fourth gameplay video where John retaliates against de Santa and later finds Javier, another member of the old gang. In this episode, we react to "national gigolo" Reye's insanity, Javier's acrobatics, and MacDougal's fear of trees. More seriously, we react to John providing more details about his past in the gang. We also continue to theorize the Strange Man as John encounters him for a second time.
Don't forget to watch or play along - gameplay is posted weekly on our YouTube channel! We'll continue to play Red Dead Redemption and analyze it in our podcast - join us in the coming weeks as we follow John west and discuss his iconic story in detail.
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00:00:00 --> 00:00:02 In this episode, John doesn't get caught with
00:00:02 --> 00:00:04 his pants down, but he does get caught with his
00:00:04 --> 00:00:08 fly down. We ride with Mexico's national gigolo.
00:00:09 --> 00:00:13 And we're afraid of trees. And I'm not sure if
00:00:13 --> 00:00:15 there even is a context to make this one make
00:00:15 --> 00:00:20 sense. But we'll get there. Thank you for coming
00:00:20 --> 00:00:22 back from our replay reviews. My name is Leah.
00:00:22 --> 00:00:24 And my name is Kathy. We are two friends who
00:00:24 --> 00:00:26 are here to replay, review, and analyze your
00:00:26 --> 00:00:29 favorite video games. And since Kathy has never
00:00:29 --> 00:00:31 seen the games before, it helps me view them
00:00:31 --> 00:00:33 through her fresh eyes, almost like I'm discovering
00:00:33 --> 00:00:35 them again for the first time. We hope it will
00:00:35 --> 00:00:45 be a similar experience for you. John travels
00:00:45 --> 00:00:48 to Abraham's camp, where Abraham asks him to
00:00:48 --> 00:00:51 help with a robbery. How are we feeling about
00:00:51 --> 00:00:54 Abraham at this point? He says about all that
00:00:54 --> 00:00:57 he's doing, I do it for my people. And John's
00:00:57 --> 00:01:00 response is a very sarcastic. Well, exactly.
00:01:00 --> 00:01:04 I did not expect to see this coming. I didn't
00:01:04 --> 00:01:06 think that Reyes would be stung with a god complex.
00:01:07 --> 00:01:10 And now I really don't like Reyes. He says he
00:01:10 --> 00:01:12 knows the people and he knows the land and he
00:01:12 --> 00:01:15 knows he can make it better after saying that
00:01:15 --> 00:01:17 he was sent for the people and the people was
00:01:17 --> 00:01:21 sent for him. That just rode me the wrong way,
00:01:21 --> 00:01:24 and it's only going to get worse. Oh, it's going
00:01:24 --> 00:01:26 to get worse already. Right? And already, we're
00:01:26 --> 00:01:28 like, dude, did you already forget about Louisa?
00:01:28 --> 00:01:31 Because she just disappeared. No, it's true.
00:01:32 --> 00:01:35 She talked him up so good that we were expecting
00:01:35 --> 00:01:39 this, I mean, savior, but not the kind that thinks
00:01:39 --> 00:01:43 he is a savior, you know? Yeah. And so far, he's
00:01:43 --> 00:01:47 turned out to just be shit. Mm -hmm. So they
00:01:47 --> 00:01:52 leave Abraham's camp and ride to Chuparosa again,
00:01:52 --> 00:01:55 where the robbery will take place. But on the
00:01:55 --> 00:01:57 way there, John grills him about the information
00:01:57 --> 00:02:00 he's after, and Reyes assures him that he's got
00:02:00 --> 00:02:04 his best men on it. John isn't being as aggressive
00:02:04 --> 00:02:07 as... He should be saying that, no, no, no, I'm
00:02:07 --> 00:02:10 not playing this game where I help you and then
00:02:10 --> 00:02:11 you're just going to tell me a new lead. He knows
00:02:11 --> 00:02:14 that John needs help. And I get he's probably
00:02:14 --> 00:02:16 taking advantage of him, but they make it sound
00:02:16 --> 00:02:19 like they're best buds, yet he's not helping
00:02:19 --> 00:02:21 him. And I think I'm frustrated seeing John be
00:02:21 --> 00:02:26 used again. It is frustrating. But from Abraham's
00:02:26 --> 00:02:29 perspective, he's still trying to figure John
00:02:29 --> 00:02:32 out a bit because he's been, you know, hopping
00:02:32 --> 00:02:34 the fence, playing on both sides up until now.
00:02:35 --> 00:02:37 And I think we see that when he starts to question
00:02:37 --> 00:02:40 John about his past. And this is when he talks
00:02:40 --> 00:02:49 about his old gang. And Dutch specifically. So
00:02:49 --> 00:02:58 hearing Dutch, it makes him sound like he's Robin
00:02:58 --> 00:03:01 Hood. But I don't think he truly is, again, because
00:03:01 --> 00:03:05 we know that John was left for dead. And if he
00:03:05 --> 00:03:07 really is for the group, he would have saved
00:03:07 --> 00:03:11 John. Dash reminds me of Kazama in a way where
00:03:11 --> 00:03:14 he's just a strategic person and he plays people
00:03:14 --> 00:03:16 so well that they don't know they're getting
00:03:16 --> 00:03:20 played. And for listeners who are joining us
00:03:20 --> 00:03:24 just now, Kazama is a character from our Yakuza
00:03:24 --> 00:03:30 series where we really hate that man. We do.
00:03:31 --> 00:03:35 We're in Chuparosa again. Do a train mission
00:03:35 --> 00:03:38 again. John hijacks the train that's full of
00:03:38 --> 00:03:42 army supplies. Shoot, shooting, shooting. We
00:03:42 --> 00:03:46 get to our destination. Abraham says, hey, steal
00:03:46 --> 00:03:48 whatever you want from the armored car. So we
00:03:48 --> 00:03:52 plant dynamite, as you do, on the lid. Did you
00:03:52 --> 00:03:59 die multiple times? Okay, so once. Once I did.
00:03:59 --> 00:04:02 At least at this part. From the dynamite. So
00:04:02 --> 00:04:06 I went down the ladder, right? And I thought,
00:04:06 --> 00:04:09 surely this is far enough because remember when
00:04:09 --> 00:04:13 we dynamited the jail cell with Louisa in it?
00:04:13 --> 00:04:15 So I figured, you know, this should be a safe
00:04:15 --> 00:04:20 distance. It was not. Speaking of though, there
00:04:20 --> 00:04:26 is an army soldier guy inside the car and he
00:04:26 --> 00:04:29 died. So I'm really just kind of wondering, I
00:04:29 --> 00:04:31 think. Landon Ricketts really almost killed Louisa.
00:04:33 --> 00:04:35 Anything else from the train mission? Not very
00:04:35 --> 00:04:39 exciting. No, just a lot of... And you had to
00:04:39 --> 00:04:42 use the gun that you hated? Oh, I hate Gatling
00:04:42 --> 00:04:45 gun missions. I hate them. I don't know what's
00:04:45 --> 00:04:48 worse, that or the cows, honestly. Imagine if
00:04:48 --> 00:04:51 you had to use a Gatling gun on the cows. See,
00:04:51 --> 00:04:56 that I'd be okay with. That is what I need. So
00:04:56 --> 00:04:59 sometime after this mission... During his travels,
00:04:59 --> 00:05:02 John pulls over for a bathroom break, and he
00:05:02 --> 00:05:05 gets jumped. But thankfully, they're Luisa's
00:05:05 --> 00:05:08 men. They take him to her. She tells him that
00:05:08 --> 00:05:10 the army murdered her father, and goes on to
00:05:10 --> 00:05:13 say that Reyes has requested John help stop some
00:05:13 --> 00:05:15 military reinforcements that are on their way
00:05:15 --> 00:05:18 to Escalera. I can't believe Reyes remembered
00:05:18 --> 00:05:22 her and knows how to reach out to her. Selective
00:05:22 --> 00:05:26 memory. He probably called her Laura, too. Mm
00:05:26 --> 00:05:29 -hmm. It's to the point where she probably is
00:05:29 --> 00:05:31 not sure what her real name actually is. This
00:05:31 --> 00:05:34 poor gal got cast that it's so hard. She forgot
00:05:34 --> 00:05:37 her own name. Anyways, this is the part where
00:05:37 --> 00:05:40 John finally gets a backbone and prioritizes
00:05:40 --> 00:05:42 his own problems himself and tries to talk sense
00:05:42 --> 00:05:46 to Louisa. He still helps her out, but still
00:05:46 --> 00:05:49 John has a backbone. I agree. I think that last
00:05:49 --> 00:05:52 mission was kind of the final straw and he's
00:05:52 --> 00:05:55 tired of this, but I do think he helps Louisa
00:05:55 --> 00:05:59 this time. Simply out of the goodness of his
00:05:59 --> 00:06:03 heart and not for anything else. That's sort
00:06:03 --> 00:06:05 of the turning point with his character. We see
00:06:05 --> 00:06:07 the reasons for him doing things changing. He's
00:06:07 --> 00:06:09 becoming more invested in the people here, I
00:06:09 --> 00:06:14 think. Especially Louisa, after seeing Reyes.
00:06:16 --> 00:06:18 So yeah, Jon helps. They set their explosive
00:06:18 --> 00:06:22 trap and wait for the convoy to arrive and kill
00:06:22 --> 00:06:26 them all. And that's pretty much it. I think
00:06:26 --> 00:06:29 this is also the start of seeing John's sarcasm.
00:06:29 --> 00:06:33 I had a quote saying that Louisa going, be honest
00:06:33 --> 00:06:35 with yourself and you'll be free. And then John's
00:06:35 --> 00:06:38 like, I must be doing it wrong. But we start
00:06:38 --> 00:06:41 to see his sarcastic self and I like it so much
00:06:41 --> 00:06:44 better. I think it's an indication that his patience
00:06:44 --> 00:06:46 is running out, which is what we've been waiting
00:06:46 --> 00:06:49 for. And I kind of like that it's manifesting
00:06:49 --> 00:06:52 in sarcasm because we get a lot of great lines
00:06:52 --> 00:06:56 out of it. And to add on to our whole conversation
00:06:56 --> 00:07:00 about how unoriginal the writers are with making
00:07:00 --> 00:07:06 names, John's son is Jack. Yeah. I've maybe even
00:07:06 --> 00:07:09 heard that that's like his nickname and he's
00:07:09 --> 00:07:13 John Jr. I don't know if that's confirmed. So
00:07:13 --> 00:07:18 maybe even less original than we thought. Okay.
00:07:18 --> 00:07:21 John spots a camp while writing and finds the
00:07:21 --> 00:07:24 strange man again. Do we need to listen to the
00:07:24 --> 00:07:27 audio this time, or did you take substantial
00:07:27 --> 00:07:31 notes? Let's play the audio. I didn't write the
00:07:31 --> 00:07:34 notes, but I... It's been a while, too. Welcome
00:07:34 --> 00:07:41 to Nuevo Pariso, John. Where do I know you from?
00:07:42 --> 00:07:45 You're famous, John. You're the man who shot
00:07:45 --> 00:07:47 a bunch of banditos as soon as he turned up in
00:07:47 --> 00:07:51 this country. You're a man who decided right
00:07:51 --> 00:07:55 and wrong. Between a man and death. Between a
00:07:55 --> 00:07:59 man and his wife. And who are you? You know,
00:07:59 --> 00:08:03 I admire you, John. I hope my boy turns out just
00:08:03 --> 00:08:08 like you. For your sake, I hope he don't. You
00:08:08 --> 00:08:11 kill people so easily, yet you respect the vows
00:08:11 --> 00:08:15 of marriage. That's very curious. I'll let the
00:08:15 --> 00:08:18 appropriate authorities judge my morality, friend.
00:08:18 --> 00:08:42 Yes, you will. And they shall. So, is he following
00:08:42 --> 00:08:48 John around? And why is he so into John? I don't
00:08:48 --> 00:08:50 know. He seems to just pop up where John is.
00:08:50 --> 00:08:53 He seems to know everything about him. Maybe
00:08:53 --> 00:08:55 we'll come back to some of these lines in the
00:08:55 --> 00:08:59 summary. But are there any lines that you want
00:08:59 --> 00:09:03 to discuss now? Not now, but I'm just curious
00:09:03 --> 00:09:07 about the nuns. How does he know all this and
00:09:07 --> 00:09:10 why is he bringing it to John is my main question.
00:09:10 --> 00:09:12 And this is one reason I lean towards him being
00:09:12 --> 00:09:16 something supernatural. He knows about what people
00:09:16 --> 00:09:18 are doing. And in this case, he gives John another
00:09:18 --> 00:09:21 test. The first time it was stop or encourage
00:09:21 --> 00:09:24 man from cheating. This time it's help or rob
00:09:24 --> 00:09:28 a nun. What happens if you don't do them or like
00:09:28 --> 00:09:30 you don't do it to what the guy was expecting
00:09:30 --> 00:09:34 you to do? I would guess not a whole lot changes.
00:09:34 --> 00:09:36 I don't think I've seen it, but I would guess
00:09:36 --> 00:09:40 it's more just some dialogue would change. Because
00:09:40 --> 00:09:44 in this instance, he says. You kill people so
00:09:44 --> 00:09:46 easily, yet you respect the vows of marriage.
00:09:46 --> 00:09:49 That's very curious. So he would maybe not say
00:09:49 --> 00:09:54 something like that? Mm -hmm. John decides to
00:09:54 --> 00:09:57 make a donation to the nun, and they have a nice
00:09:57 --> 00:10:02 little chat. Any reactions on their discussion?
00:10:05 --> 00:10:19 I inhaled wrong. Ugh. I'm starting to worry about
00:10:19 --> 00:10:22 what's going to happen to John because we know
00:10:22 --> 00:10:25 he wants to go back home and just leave a quiet
00:10:25 --> 00:10:28 life. We hear statements from him talking with
00:10:28 --> 00:10:31 Bonnie that, okay, I'm going to go buy some cow
00:10:31 --> 00:10:33 for me. I'm going to live a good life. But then
00:10:33 --> 00:10:35 we start to hear Louisa being like, be free.
00:10:36 --> 00:10:38 And now we hear her just kind of giving life
00:10:38 --> 00:10:42 advice. And it makes me feel like he's getting
00:10:42 --> 00:10:44 all this advice and he's getting pumped and hyped
00:10:44 --> 00:10:49 to go home only for him to either die or go home
00:10:49 --> 00:10:54 to his wife and kid being dead. What's the difference
00:10:54 --> 00:10:59 between those? I mean, one is he dies, but his
00:10:59 --> 00:11:02 wife and kids are okay. Or he's alive and his
00:11:02 --> 00:11:04 wife and kids are dead. So he's just miserable.
00:11:04 --> 00:11:09 Oh, they're dead. I see. Yeah. It seems like
00:11:09 --> 00:11:13 the overarching theme is he's trying, but he
00:11:13 --> 00:11:18 just can't outrun his past. So John then rides
00:11:18 --> 00:11:22 to check in with Louisa. She tells him DeSanta
00:11:22 --> 00:11:25 is overseeing a massacre at El Sepulcro, a graveyard.
00:11:26 --> 00:11:29 John heads out to help stop and kill him, as
00:11:29 --> 00:11:33 Louisa requests. This may be the first time he
00:11:33 --> 00:11:38 hasn't hesitated to help someone at all. probably
00:11:38 --> 00:11:41 because de santa betrayed him and my question
00:11:41 --> 00:11:46 to you though is is that good or bad does this
00:11:46 --> 00:11:50 point to a flaw in his morals that he wants revenge
00:11:50 --> 00:11:54 isn't this the sort of thing he's trying to avoid
00:11:54 --> 00:11:58 i thought so but then also coming right off of
00:11:58 --> 00:12:03 that nun scene maybe it just gave John the inspiration
00:12:03 --> 00:12:05 to just do whatever you need to do, get it done,
00:12:06 --> 00:12:08 help the people, and just get out of here. So
00:12:08 --> 00:12:10 they get there, and during the shootout, John
00:12:10 --> 00:12:13 chases down and captures a fleeing DeSanta. With
00:12:13 --> 00:12:16 the battle over, John beats the information out
00:12:16 --> 00:12:18 of him. He tells him that Javier is holed up
00:12:18 --> 00:12:21 at Casa Magrugada, where we've been multiple
00:12:21 --> 00:12:25 times. And then some of the rebels say, can we
00:12:25 --> 00:12:27 kill this piece of shit now, or would you like
00:12:27 --> 00:12:30 the pleasure yourself? I have a feeling you're
00:12:30 --> 00:12:33 going to have a reaction to my decision. I thought
00:12:33 --> 00:12:35 this is where you told me that, hey, you're going
00:12:35 --> 00:12:37 to like the scene. And then me, they cut to DeSantis
00:12:37 --> 00:12:40 shooting a man who's digging his own grave, apparently.
00:12:41 --> 00:12:43 And that was not what I was expecting. And then
00:12:43 --> 00:12:46 when you say, like, I like the scene, I'm thinking,
00:12:46 --> 00:12:48 like, DeSantis finally gets what he deserves.
00:12:49 --> 00:12:52 But it's like, no. The timing could not have
00:12:52 --> 00:12:56 worked out better. The scene is actively rolling
00:12:56 --> 00:12:58 and I'm like, you're going to love this. And
00:12:58 --> 00:13:00 immediately it cuts to him just shooting a guy,
00:13:01 --> 00:13:04 just execution square in the head. And I was
00:13:04 --> 00:13:07 like, oh, not that in a minute. Yeah, you're
00:13:07 --> 00:13:09 trying to clarify. And I knew what you're trying
00:13:09 --> 00:13:11 to tell me, but that was not what I was expecting.
00:13:12 --> 00:13:16 Oh, that was funny. I expected you to have a
00:13:16 --> 00:13:19 problem with me not killing him myself. I'm okay
00:13:19 --> 00:13:23 with it. I feel like. Okay. Other people wanted
00:13:23 --> 00:13:26 to kill DeSanta more than John. They probably
00:13:26 --> 00:13:29 had more background, like DeSanta personally
00:13:29 --> 00:13:31 burned their own families alive or something.
00:13:33 --> 00:13:36 I'm okay with that one. I think he needs to kill
00:13:36 --> 00:13:40 everyone else by himself. Like Bill, the big
00:13:40 --> 00:13:44 players, right? Okay. Yeah, I wanted to kill
00:13:44 --> 00:13:46 him. It just felt wrong, though, for a couple
00:13:46 --> 00:13:50 of reasons. john is supposed to be trying to
00:13:50 --> 00:13:54 be a non -outlaw but also because it felt like
00:13:54 --> 00:13:57 an insult to de santa to just not care about
00:13:57 --> 00:14:00 him enough to have to be the one to kill him
00:14:00 --> 00:14:03 so just spitting on him and walking away that
00:14:03 --> 00:14:06 just i don't know that felt way better for some
00:14:06 --> 00:14:09 reason and de santa knows that he isn't worth
00:14:09 --> 00:14:11 anything because john doesn't care about him
00:14:11 --> 00:14:13 and instead he's getting killed by people who
00:14:13 --> 00:14:18 truly hate him much more All in all, satisfying
00:14:18 --> 00:14:21 death here. But I think that means it's time
00:14:21 --> 00:14:24 for a so long. I think this is going to be an
00:14:24 --> 00:14:28 easy one. Straight up mother******. Absolute
00:14:28 --> 00:14:32 mother******. This guy is just a poop stain in
00:14:32 --> 00:14:36 John's existence. Did he do anything good at
00:14:36 --> 00:14:42 all, ever? No. No, he's a coward. And he's probably
00:14:42 --> 00:14:46 a rapist. And he deserves to die. He's terrible.
00:14:47 --> 00:14:50 He tried to kill John. No redemption for you,
00:14:51 --> 00:14:53 DeSanta. You're a mother******. Through and through.
00:14:54 --> 00:15:00 So after that, they ride to go find Javier, and
00:15:00 --> 00:15:06 he's not there. Big surprise. It's a trap. Thoughts?
00:15:07 --> 00:15:10 I like how it's a woman who tells John, you're
00:15:10 --> 00:15:13 stupid for believing DeSanta. And she definitely
00:15:13 --> 00:15:15 has a point, because... John should know better
00:15:15 --> 00:15:18 than to believe anything coming out of his mouth.
00:15:18 --> 00:15:21 It makes me glad that I didn't kill him, though.
00:15:21 --> 00:15:23 Because then at least it looks a little less
00:15:23 --> 00:15:27 like he pulled one over on John. John then rides
00:15:27 --> 00:15:32 to Reyes, who is occupied. Not saying it really
00:15:32 --> 00:15:35 graciously. I had to relearn how to blur in the
00:15:35 --> 00:15:39 editing software for this. And some of it I just
00:15:39 --> 00:15:41 straight up cut out. There's already enough noise
00:15:41 --> 00:15:45 to hint. It didn't need to have that scene. It
00:15:45 --> 00:15:49 could just be noise and John's standing outside
00:15:49 --> 00:15:52 the bedroom. Yeah, I reduced the audio in some
00:15:52 --> 00:15:56 of it too. I really wish John would scold him
00:15:56 --> 00:15:58 some more so he could stick up for Louisa because
00:15:58 --> 00:16:01 I feel like we have a friendship between John
00:16:01 --> 00:16:04 and Louisa and so... Oh, I thought he did. That's
00:16:04 --> 00:16:08 my note is John defending Louisa's honor is adorable.
00:16:08 --> 00:16:11 I wanted more though. I wanted him to just like...
00:16:12 --> 00:16:14 throw a punch at Reyes or something. You know
00:16:14 --> 00:16:16 what I mean? I want it to get physical and he
00:16:16 --> 00:16:21 just be like, you suck, Reyes. Luisa's too good
00:16:21 --> 00:16:27 for you. Sure. I think he does a good job of
00:16:27 --> 00:16:32 he stays out of it, but stays in it in a way,
00:16:32 --> 00:16:35 if that makes sense. Like, he's trying to stay
00:16:35 --> 00:16:38 on the fence with everything, but it seems that
00:16:38 --> 00:16:41 when it comes to Luisa, he steps over the fence
00:16:41 --> 00:16:44 a bit more helping her when he doesn't have to
00:16:44 --> 00:16:47 and lecturing Reyes about this but when John
00:16:47 --> 00:16:52 brings her up he says who I was not expecting
00:16:52 --> 00:16:55 Reyes to like yeah we got red flags but I was
00:16:55 --> 00:17:00 not expecting it to turn to be like this it's
00:17:00 --> 00:17:03 so disrespectful and I hate him and I didn't
00:17:03 --> 00:17:07 expect to to have this feeling towards him I
00:17:07 --> 00:17:10 hate him But it also makes sense that they made
00:17:10 --> 00:17:13 both sides, the rebels and the military, bad.
00:17:14 --> 00:17:18 Just bad. After all this excitement, the two
00:17:18 --> 00:17:21 of them leave to go find Bill and Javier. Reyes
00:17:21 --> 00:17:24 says that they paid Allende to hide them. And
00:17:24 --> 00:17:27 they ride out. Yeah. And then we get some more
00:17:27 --> 00:17:31 sass from John. He was also talking to Reyes
00:17:31 --> 00:17:33 that you can't remember the name of the woman
00:17:33 --> 00:17:37 you're marrying. And then Amelie. Kind of like
00:17:37 --> 00:17:41 a national gigolo. A man like me cannot be with
00:17:41 --> 00:17:44 just one woman. It would be an injustice to the
00:17:44 --> 00:17:47 people I have devoted my life to serve. You have
00:17:47 --> 00:17:50 an interesting way of serving the people. Kind
00:17:50 --> 00:17:54 of like a national gigolo. Amazing, John. John's
00:17:54 --> 00:17:59 great. So they get to the fort, but they have
00:17:59 --> 00:18:03 to bust through the gate. And to do so, they
00:18:03 --> 00:18:06 just stick John on a wagon full of dynamite.
00:18:06 --> 00:18:11 John is literally submerged in dynamite. And
00:18:11 --> 00:18:15 then John goes like, so when do we light it?
00:18:15 --> 00:18:17 I think, is that what he says? Well, first he
00:18:17 --> 00:18:22 goes, what? That sounds crazy. And then something
00:18:22 --> 00:18:24 like, how long is the fuse? And he just goes
00:18:24 --> 00:18:27 long enough and lights it. John's like, oh shit,
00:18:27 --> 00:18:30 I gotta go. I mean, I'm already wrong enough
00:18:30 --> 00:18:33 about Reyes that anything goes, but I didn't
00:18:33 --> 00:18:37 think Reyes would be like that crazy too. I don't
00:18:37 --> 00:18:39 think he cares about John anymore at this point.
00:18:40 --> 00:18:42 So you have to jump off the wagon before it gets
00:18:42 --> 00:18:48 too close. And John just lands under the wagon
00:18:48 --> 00:18:52 and gets dragged for a little bit. And it's hilarious.
00:18:52 --> 00:18:54 Did you die that time? Or was it time before?
00:18:54 --> 00:18:57 No, but the same thing happened on my previous
00:18:57 --> 00:19:00 attempt. And he got stuck under it, under it.
00:19:00 --> 00:19:04 And so then it exploded. And he was right there.
00:19:04 --> 00:19:08 He did not survive. The attack of the fort is
00:19:08 --> 00:19:12 underway and John searches for Javier, eventually
00:19:12 --> 00:19:15 finding him. I'm glad John isn't going to be
00:19:15 --> 00:19:17 like, let's start down our knives and guns and
00:19:17 --> 00:19:20 let's just do a fair fist fight because I hate
00:19:20 --> 00:19:24 that stuff in movies. And I like how John is
00:19:24 --> 00:19:27 just pure aggression at this point. But he's
00:19:27 --> 00:19:30 matter of fact about it. He says, I ain't the
00:19:30 --> 00:19:33 judge, but as it turns out, it's you or me. He's
00:19:33 --> 00:19:36 just here to do what he has to do. But Javier
00:19:36 --> 00:19:38 does try to appeal to him, saying that they didn't
00:19:38 --> 00:19:40 intentionally leave him years ago. They just
00:19:40 --> 00:19:43 thought he was dead. Okay, people need to stop
00:19:43 --> 00:19:46 gaslighting John. Do we need to talk about the
00:19:46 --> 00:19:49 way he jumps out the window? Yeah, I was going
00:19:49 --> 00:19:52 to bring that up. It's so funny, and I'm mad
00:19:52 --> 00:19:55 that John didn't see that coming. But at the
00:19:55 --> 00:19:57 same time, I'm kind of glad he didn't see it
00:19:57 --> 00:20:00 coming, because that means we could see Escuela
00:20:00 --> 00:20:05 jump like that. He gets the drop on John by just
00:20:05 --> 00:20:08 pushing a crate onto him and uses these split
00:20:08 --> 00:20:12 seconds to hop out the window like a stupid little
00:20:12 --> 00:20:16 acrobat. I have to appreciate, though, that this
00:20:16 --> 00:20:18 game lets you jump out the window after him.
00:20:19 --> 00:20:20 There's so many games that would have made you
00:20:20 --> 00:20:23 run all the way around out through the doors.
00:20:24 --> 00:20:27 So a chase begins. John eventually catches up
00:20:27 --> 00:20:30 to him, and he's still trying to appeal to him,
00:20:30 --> 00:20:33 bringing Abigail into it. And John says, Abigail
00:20:33 --> 00:20:36 would have killed you already. John has no patience
00:20:36 --> 00:20:40 left. John gets him back to the fort, locks him
00:20:40 --> 00:20:43 in a cell. They talk some more, Javier's getting
00:20:43 --> 00:20:48 a little more... bitchy. And John says, You know
00:20:48 --> 00:20:51 that life we lived is over. And when we was living
00:20:51 --> 00:20:53 it, it didn't mean nothing anyway. It was just
00:20:53 --> 00:20:56 an excuse, and we all knew. I find this to be
00:20:56 --> 00:20:59 a very fascinating line, because just a little
00:20:59 --> 00:21:03 bit ago we heard him... describing to Reyes that
00:21:03 --> 00:21:07 basically they were doing good in their own messed
00:21:07 --> 00:21:11 up kind of way, but now he's kind of admitting
00:21:11 --> 00:21:14 he still knew it was wrong. And that's the first
00:21:14 --> 00:21:17 time I feel like we've seen him fully admit that.
00:21:20 --> 00:21:23 Okay, so reinforcements arrive, and they're like,
00:21:23 --> 00:21:25 get to the cannon. And you know, I turned the
00:21:25 --> 00:21:29 radar off, so I'm like, what cannon? I went to
00:21:29 --> 00:21:33 an occupied cannon. Just hovering behind someone.
00:21:33 --> 00:21:36 Just popped up the ladder. Oh, there's someone
00:21:36 --> 00:21:38 there. Slide back down. So by the time I get
00:21:38 --> 00:21:40 to a free cannon, the battle's almost already
00:21:40 --> 00:21:45 over. But John delivers Javier to the Pinkertons.
00:21:45 --> 00:21:47 They tell John to bring in Williamson and then
00:21:47 --> 00:21:50 head to Blackwater because they suspect Dutch
00:21:50 --> 00:21:53 is in the area. And I also don't like how they
00:21:53 --> 00:21:56 threatened John with saying his wife's name.
00:21:57 --> 00:21:59 It makes me feel like she's not alive, like they
00:21:59 --> 00:22:02 killed her already. Yeah, they're very smug about
00:22:02 --> 00:22:05 it. I don't know what the right word is. Like,
00:22:05 --> 00:22:06 at this point, I don't know if they're alive
00:22:06 --> 00:22:09 or not. This is the first time we've seen them
00:22:09 --> 00:22:12 since the start of the game, right? Mm -hmm.
00:22:12 --> 00:22:17 Does this exchange give you a little more reasoning
00:22:17 --> 00:22:20 as to why Jon has sort of just been going along
00:22:20 --> 00:22:23 with things? We can see now the kind of threats
00:22:23 --> 00:22:27 that he's been... hearing definitely i can see
00:22:27 --> 00:22:31 where john's coming from i'm just mad at everyone
00:22:31 --> 00:22:35 for treating john like this and again he was
00:22:35 --> 00:22:38 a criminal but how much does he need to do in
00:22:38 --> 00:22:44 order to repay his sins john rides to escalera
00:22:44 --> 00:22:46 where the rebels have launched an attack and
00:22:46 --> 00:22:49 the city is in chaos reyes has been captured
00:22:49 --> 00:22:52 and is being beaten john tries to get the soldiers
00:22:52 --> 00:22:55 to let him go But Louisa runs at them with a
00:22:55 --> 00:22:58 knife and they shoot her, which leads to John
00:22:58 --> 00:23:04 shooting the soldiers. Louisa. Honey. A knife?
00:23:05 --> 00:23:08 What are you going to do with that? And earlier
00:23:08 --> 00:23:11 in this game, they're just praising how brave
00:23:11 --> 00:23:15 she is and smart and just how great she is. And
00:23:15 --> 00:23:18 I'm like, you're praising someone who's so dumb
00:23:18 --> 00:23:21 bringing a knife to a gunfight. I'm just, I'm
00:23:21 --> 00:23:24 in shock that she thought this was a good idea.
00:23:24 --> 00:23:29 But it's an excellent example of Abraham's persuasion
00:23:29 --> 00:23:34 over people. His leadership, as much of it was,
00:23:34 --> 00:23:37 I mean, I think a lot of it was bullshit, but
00:23:37 --> 00:23:40 he's still good at playing the part. To the point
00:23:40 --> 00:23:42 where Louisa is willing to just run at soldiers
00:23:42 --> 00:23:46 with a knife and get shot and killed for him.
00:23:46 --> 00:23:51 I'm so mad. There's multiple things. First, I
00:23:51 --> 00:23:53 don't think Louisa deserved to die. But moving
00:23:53 --> 00:23:57 on, the fact that Reyes doesn't even spare her
00:23:57 --> 00:24:01 a glance continues to forget her name. I was
00:24:01 --> 00:24:04 excited when Reyes was caught before the scene,
00:24:04 --> 00:24:08 but I'm frustrated with how the scene turned
00:24:08 --> 00:24:13 out. 100%. Should we do a so long for Louisa?
00:24:13 --> 00:24:17 Yeah. This one's hard for me. Because she's young
00:24:17 --> 00:24:21 and naive. She's not a bad person. So I don't
00:24:21 --> 00:24:24 want to say she's a mother. But I also do think
00:24:24 --> 00:24:27 that she kind of did a lot of this to herself.
00:24:27 --> 00:24:30 She had a lot of blinders. That was my struggle.
00:24:30 --> 00:24:33 I kind of want to make an exception for this
00:24:33 --> 00:24:37 one. I'm feeling very neutral. But I think a
00:24:37 --> 00:24:39 better conversation is about her character arc.
00:24:40 --> 00:24:45 And that helped me think about if I want to put
00:24:45 --> 00:24:48 her in the mother. respecter or neutral category
00:24:48 --> 00:24:52 my problem with this is that they made her into
00:24:52 --> 00:24:57 a character that's shallow and overly patriotic
00:24:57 --> 00:24:59 for their country she's all about like i wait
00:24:59 --> 00:25:03 for my country and she's just believing what
00:25:03 --> 00:25:07 reyes is telling her so she's very pro reyes
00:25:08 --> 00:25:10 And Homegirl needs to calm down with just her
00:25:10 --> 00:25:13 enthusiasm with everything between like honoring
00:25:13 --> 00:25:16 her dad and her love for her country and not
00:25:16 --> 00:25:19 forgiving John for helping the enemy, but then
00:25:19 --> 00:25:23 still needing John's help. I think it's very
00:25:23 --> 00:25:27 purposeful the way she's written. She's loyal
00:25:27 --> 00:25:31 to a fault and she gives everything to her cause,
00:25:31 --> 00:25:36 but she does it in a way where she is brave and...
00:25:37 --> 00:25:40 She seems like, you know, kind of powerful in
00:25:40 --> 00:25:42 a way. She's leading her small little group of
00:25:42 --> 00:25:46 rebels. So I think that they do a lot in writing
00:25:46 --> 00:25:49 her character to make her formidable, I guess.
00:25:50 --> 00:25:53 But all of this still led to her death, and I
00:25:53 --> 00:25:56 think it's an example of how being like that
00:25:56 --> 00:26:00 can still be a shortcoming. And it might even
00:26:00 --> 00:26:04 be why Jon cares about her so much, because...
00:26:04 --> 00:26:06 Maybe that's how he was for a long time with
00:26:06 --> 00:26:10 Dutch in the gang. I think her character's not
00:26:10 --> 00:26:15 shallow. I think it's just tragic. Because she
00:26:15 --> 00:26:19 was cool. She was not afraid. She's young and
00:26:19 --> 00:26:23 leading men, but she still died. For an idiot.
00:26:25 --> 00:26:28 Because at the end of the day, she was blinded.
00:26:29 --> 00:26:32 Anyway, final consensus on Luisa. She's not a
00:26:32 --> 00:26:37 mother****er. I want to give her just a tad bit
00:26:37 --> 00:26:40 into mother respecter category, but still close
00:26:40 --> 00:26:43 to neutral. She's encouraging people to follow
00:26:43 --> 00:26:47 a leader who they believe is best for them, but
00:26:47 --> 00:26:50 she's not asking the questions she needs to ask
00:26:50 --> 00:26:54 to make sure she's leading people into the right
00:26:54 --> 00:26:58 situation. Because we know from John's perspective.
00:26:59 --> 00:27:00 Reyes doesn't really give a shit about these
00:27:00 --> 00:27:03 people. And so I think it's that fact that kind
00:27:03 --> 00:27:05 of pushes it out of the mother respecter and
00:27:05 --> 00:27:08 into the mother neutral. That she's just so blind
00:27:08 --> 00:27:11 that it's leading other people into harmful situations.
00:27:12 --> 00:27:15 Yeah. Jonna helps Reyes and the rebels take over
00:27:15 --> 00:27:18 Escalera. As they are breaking the doors down
00:27:18 --> 00:27:20 to Allende's mansion, we see Bill is with him.
00:27:21 --> 00:27:23 And they're fleeing the mansion, talking about
00:27:23 --> 00:27:27 taking Allende's stagecoach. They called John
00:27:27 --> 00:27:30 a traitor, and I feel like that's such a hypocrite
00:27:30 --> 00:27:33 when he shot John. I don't know if he shot, but
00:27:33 --> 00:27:37 he saw John get shot twice and left him to die
00:27:37 --> 00:27:42 both times. Come on. So, yeah, they do catch
00:27:42 --> 00:27:46 up to the stagecoach. Allende thinks that he
00:27:46 --> 00:27:49 can get out of this by just tossing Bill out
00:27:49 --> 00:27:53 of the stagecoach. He says, take him, just let
00:27:53 --> 00:27:56 me live. I think we all know Reyes is not going
00:27:56 --> 00:28:00 to go for that. So he hesitates a little bit
00:28:00 --> 00:28:04 in killing him, giving John and Bill some time
00:28:04 --> 00:28:06 to chat. This is going to be something different
00:28:06 --> 00:28:10 than what we just heard Javier say. Bill says,
00:28:10 --> 00:28:14 Dutch wanted you dead. We all did. Well, with
00:28:14 --> 00:28:18 that, John kills Bill as Reyes takes out Allende.
00:28:19 --> 00:28:22 We don't get the option to take Bill in alive.
00:28:23 --> 00:28:25 And I find that to be interesting because we
00:28:25 --> 00:28:29 get that option with Javier. Why not Bill? Is
00:28:29 --> 00:28:31 it just because of what John said to Bonnie about
00:28:31 --> 00:28:34 now he's going after him the less kind way? Is
00:28:34 --> 00:28:38 this just because Bill shot him first? My thought
00:28:38 --> 00:28:42 was that maybe it was to make the player emotional.
00:28:42 --> 00:28:45 That was my first reaction. But I think the choice
00:28:45 --> 00:28:48 to shoot him is the better option because John.
00:28:49 --> 00:28:52 at this point knows how tricky bill is that it
00:28:52 --> 00:28:55 took him literally this long and so john's not
00:28:55 --> 00:29:01 taking chances got a couple so longs here i don't
00:29:01 --> 00:29:02 think there's going to be a whole lot of discussion
00:29:02 --> 00:29:05 about these two i say we just do them at the
00:29:05 --> 00:29:08 same time yeah bill and alende first of all bill
00:29:08 --> 00:29:13 has a shit name william williamson yeah definitely
00:29:13 --> 00:29:17 mother for that alone I apologize to all the
00:29:17 --> 00:29:19 William Williamson's out there. I'm sure you're
00:29:19 --> 00:29:22 nice. There's no redeeming quality in either
00:29:22 --> 00:29:26 of them. Not at all. Motherfuckers for both.
00:29:26 --> 00:29:31 They're gross. They're inbred, apparently. So
00:29:31 --> 00:29:35 long. We're then back at Escalera, parting ways
00:29:35 --> 00:29:40 with Abraham. John brings up Louisa, and he still
00:29:40 --> 00:29:45 doesn't know who she is. No. I wish John shot
00:29:45 --> 00:29:48 him. I do wish he shot him, but I do appreciate
00:29:48 --> 00:29:52 the annoyed slash disgusted look that he has
00:29:52 --> 00:29:54 on his face when Reyes, like he can't even look
00:29:54 --> 00:29:58 at Reyes anymore. I'm not sad to be parting ways.
00:29:58 --> 00:30:03 I'm glad we're leaving this whole Mexico revolution
00:30:03 --> 00:30:07 scene because it was just, it was getting too
00:30:07 --> 00:30:10 much and I was getting too frustrated with the
00:30:10 --> 00:30:13 characters using John and I was getting irritated
00:30:13 --> 00:30:17 at people like Reyes. I agree. I don't hate it
00:30:17 --> 00:30:20 as much as some people do, but it's not great.
00:30:21 --> 00:30:24 John travels to Blackwater having an incident
00:30:24 --> 00:30:27 with his horse along the way. Oh my god, Leah!
00:30:28 --> 00:30:31 Okay, out of the goodness of my heart, I decided
00:30:31 --> 00:30:33 to help this lady that was being kidnapped. And
00:30:33 --> 00:30:35 at some point, my horse just decides I'm going
00:30:35 --> 00:30:38 to go wade in the water. I whistle it because,
00:30:38 --> 00:30:42 fun fact for you, Kathy, this is a good piece
00:30:42 --> 00:30:45 of lore about this game. John cannot swim. What?
00:30:45 --> 00:30:49 As soon as he gets in water, like, knee -high,
00:30:49 --> 00:30:52 he just dies immediately. Really? Yes. So I cannot
00:30:52 --> 00:30:54 go in the water to get the horse. That's too
00:30:54 --> 00:30:57 big a risk. So I whistle for it to summon it.
00:30:57 --> 00:31:00 It takes a couple steps, falls deeper into the
00:31:00 --> 00:31:04 water, does not get back up, ever. The horse
00:31:04 --> 00:31:09 isn't even trying. It does. I don't know how
00:31:09 --> 00:31:12 the... Was high tide... Is this, like, a sneaker
00:31:12 --> 00:31:15 wave coming in and... And getting the horse or...
00:31:15 --> 00:31:19 No, it's just stupid. It's just dumb. I should
00:31:19 --> 00:31:22 have just let that lady get kidnapped. So anyway,
00:31:22 --> 00:31:24 then John steals a horse and later finds a better
00:31:24 --> 00:31:28 one. John arrives at Edgar Ross's office and
00:31:28 --> 00:31:31 immediately questions Fordham, his partner, about
00:31:31 --> 00:31:35 his family. Fordham responds, Being well looked
00:31:35 --> 00:31:39 after. Well looked after. Why'd he say it like
00:31:39 --> 00:31:41 that? Now he's starting to sound like Alendis
00:31:41 --> 00:31:45 and Reyes and... Rapist, like, ugh. That's kind
00:31:45 --> 00:31:48 of the vibe I was picking up. But I think you're
00:31:48 --> 00:31:50 going to like how upset John gets in this scene.
00:31:51 --> 00:31:54 He feels that they're playing games, and at this
00:31:54 --> 00:31:57 point, Ross finally shows up and threatens John
00:31:57 --> 00:32:01 with all the games they could play. He says,
00:32:01 --> 00:32:02 basically, they could hang him, they could throw
00:32:02 --> 00:32:05 him in prison, they could take his farm. The
00:32:05 --> 00:32:08 deal is his freedom for all the men from his
00:32:08 --> 00:32:10 old gang, and they still need Vanderland. But
00:32:10 --> 00:32:14 they know where he is. Why did John get into
00:32:14 --> 00:32:19 the car like that? Let me find it. Watch the
00:32:19 --> 00:32:26 way John steps into the car. Why did he do that?
00:32:27 --> 00:32:30 Whoever they animated it from doesn't know how
00:32:30 --> 00:32:34 to walk. He, like, skipped into the car. Or,
00:32:34 --> 00:32:35 like, he thought there was another step there
00:32:35 --> 00:32:39 and there wasn't. I don't know, but it made me
00:32:39 --> 00:32:43 laugh. So, anyway. In the car now. The three
00:32:43 --> 00:32:45 of them head out to the boatwreck where Dutch
00:32:45 --> 00:32:47 is supposed to be. Things get a little heated
00:32:47 --> 00:33:09 in the car. You killed hundreds of innocent people.
00:33:09 --> 00:33:12 You've robbed at least 40 banks that we're aware
00:33:12 --> 00:33:15 of. They told us there was a prize when we got
00:33:15 --> 00:33:21 to 50. Yeah, that one. I love Sassy John so much.
00:33:22 --> 00:33:25 Continuing on that same conversation, Ross says,
00:33:26 --> 00:33:28 The life you lived, you don't just walk away
00:33:28 --> 00:33:30 from that, buy a few chickens, and make it all
00:33:30 --> 00:33:32 disappear. We're giving you a chance at redemption.
00:33:34 --> 00:33:36 I hate to say it, but he kind of has a point.
00:33:37 --> 00:33:40 I can't disagree. I don't like how they're doing
00:33:40 --> 00:33:45 this under duress. But it could possibly be a
00:33:45 --> 00:33:47 win -win situation for both of them if this works
00:33:47 --> 00:33:51 out well. As much as we hate these agents, they're
00:33:51 --> 00:33:53 saying some things that do kind of make sense.
00:33:54 --> 00:33:59 John is not an innocent person. They arrive at
00:33:59 --> 00:34:01 the wreck of the Serendipity, where John and
00:34:01 --> 00:34:04 Fordham investigate to find nobody's there except
00:34:04 --> 00:34:09 for their informant, Nastas, tied up. Nastas
00:34:09 --> 00:34:12 warns them that it's a trap, and weak -butt Fordham
00:34:12 --> 00:34:16 makes John carry Nastas as they're getting shot
00:34:16 --> 00:34:20 at all the way back to the car. Soon the car
00:34:20 --> 00:34:22 breaks down. They're sitting ducks while Fordham
00:34:22 --> 00:34:25 tries to get it started again. Dutch's men launch
00:34:25 --> 00:34:32 an attack, and... Edgar Ross goes, oh, my good
00:34:32 --> 00:34:36 God. And that's just the most proper exclamation
00:34:36 --> 00:34:38 that I've ever heard in my life. So I had to
00:34:38 --> 00:34:41 highlight it. He's in my vocab. Oh, my good God.
00:34:41 --> 00:34:44 Someone jumps out at you. Oh, my good God. You
00:34:44 --> 00:34:49 just have to. Anyway, they fight off Dutch's
00:34:49 --> 00:34:51 men and continue on to Blackwater, where they
00:34:51 --> 00:34:55 take Gnostis to a Professor McDougal, because
00:34:55 --> 00:34:58 he can communicate with them. And as Ross puts
00:34:58 --> 00:35:03 it, I just can't communicate with them. And he's
00:35:03 --> 00:35:06 like, do you understand what I'm saying? I can't
00:35:06 --> 00:35:08 remember what he was saying, but he was just
00:35:08 --> 00:35:12 speaking slowly, loudly, disrespectfully. I do
00:35:12 --> 00:35:15 love because, yeah, he does say something like,
00:35:15 --> 00:35:19 do you understand? Do you speak English to Nastas?
00:35:19 --> 00:35:22 And Fordham goes, yes, sir. He's our informant
00:35:22 --> 00:35:25 and kind of laughs a little bit. He even knows
00:35:25 --> 00:35:30 how ridiculous it is. Okay, and then after this
00:35:30 --> 00:35:33 cutscene ends, John's on the sidewalk and this
00:35:33 --> 00:35:37 NPC just spawns in underneath him and then vanishes.
00:35:38 --> 00:35:43 He entered John's body. You can see me pause
00:35:43 --> 00:35:46 and look around like, what? Did I just see a
00:35:46 --> 00:35:51 person? I saw a ghost. Last scene in the gameplay.
00:35:52 --> 00:35:56 John visits McDougal the next morning. This might
00:35:56 --> 00:35:59 be one of the only times where my heritage was
00:35:59 --> 00:36:04 the butt of a racist, of a racist encounter because
00:36:04 --> 00:36:11 dude. Okay. So he asks John if he's Norse, right?
00:36:11 --> 00:36:16 I'm Norse. And then he goes on to talk about
00:36:16 --> 00:36:21 a possible case study and says about John, a
00:36:21 --> 00:36:26 white man, but with a savage spirit. And I'm
00:36:26 --> 00:36:29 feeling a little attacked right now. He's saying
00:36:29 --> 00:36:34 you, Leah. Apparently I have a savage spirit,
00:36:34 --> 00:36:39 Kathy. I mean, you do have a resting Kelly and
00:36:39 --> 00:36:45 Murphy face. I do. I really do. He really was
00:36:45 --> 00:36:47 sad that he couldn't split a syringe with John.
00:36:48 --> 00:36:51 I know. He just holds out a syringe. Would you
00:36:51 --> 00:36:52 like to partake in some cocaine? There's plenty
00:36:52 --> 00:36:55 enough for two. And then he just shoots all of
00:36:55 --> 00:36:59 it into his arm. Like, how much are you on? A
00:36:59 --> 00:37:03 lot. Too much. Anything before Gnostic arrives?
00:37:03 --> 00:37:08 Mm -mm. Okay. So he shows up. He's located Dutch
00:37:08 --> 00:37:10 in his new gang, primarily made up of, he says,
00:37:10 --> 00:37:13 young men from the reservation. So the three
00:37:13 --> 00:37:15 of them head out. I don't know why McDougal is
00:37:15 --> 00:37:20 coming. As we're riding out to this location,
00:37:21 --> 00:37:26 we enter the forest. And McDougal says, these
00:37:26 --> 00:37:31 trees are rather foreboding and gets all uncomfortable.
00:37:31 --> 00:37:35 And John says, ain't you never seen trees before?
00:37:37 --> 00:37:41 What is this exchange? I thought it was that
00:37:41 --> 00:37:44 McDougal is high on something else besides cocaine.
00:37:46 --> 00:37:50 Can someone who's done cocaine, can you? Explain
00:37:50 --> 00:37:53 this. Do you look at trees and they're foreboding
00:37:53 --> 00:37:57 if you're on cocaine? Someone help us because
00:37:57 --> 00:38:02 we're too square to know what's happening here.
00:38:03 --> 00:38:05 McDougal turns around because he doesn't want
00:38:05 --> 00:38:08 to climb up the mountain. Or so he says. Maybe
00:38:08 --> 00:38:10 it's because of the trees. And he says, I don't
00:38:10 --> 00:38:13 have a head for heights. More of a head for highs.
00:38:15 --> 00:38:18 Don't try to make jokes like that, buddy. It's
00:38:18 --> 00:38:22 not funny. We are traversing a mine, and some
00:38:22 --> 00:38:26 guy jumps out at Nastas, and the noise he makes
00:38:26 --> 00:38:35 is comical. Why does he shriek like this? That
00:38:35 --> 00:38:39 was, yeah, that part creeped me out. That guy
00:38:39 --> 00:38:43 who jumped out had to have been on McDougal's
00:38:43 --> 00:38:48 cocaine, too. 100 % thought it was Seth. I thought
00:38:48 --> 00:38:54 so, too. Like, what is that gross dude? It's
00:38:54 --> 00:39:00 creepy. Like, zombie -like, too. Oh, man. Okay,
00:39:00 --> 00:39:02 well, skipping ahead, we find a lookout above
00:39:02 --> 00:39:06 Dutch's camp. John steals the binoculars. I accidentally
00:39:06 --> 00:39:09 push the guy off the cliff, which maybe blew
00:39:09 --> 00:39:13 John's cover. But either way, Dutch does spot
00:39:13 --> 00:39:14 John and shoots the binoculars, which knocks
00:39:14 --> 00:39:17 John out. And he comes to back up McDougal's.
00:39:17 --> 00:39:20 I guess Gnostic, even though injured, brought
00:39:20 --> 00:39:23 him all the way down the mountain? Unreasonable.
00:39:23 --> 00:39:27 Amazing. John leaves while the other two get
00:39:27 --> 00:39:30 in a fight. I wish Gnostic would just slap him,
00:39:30 --> 00:39:34 kill that guy. So he heads straight to Ross's
00:39:34 --> 00:39:37 office, who has some intel on Dutch. It sounds
00:39:37 --> 00:39:41 like he's coming in town to go to the bank. I
00:39:41 --> 00:39:43 guess when Dutch goes to the bank, it's a big
00:39:43 --> 00:39:46 thing. And how is no one questioning him what
00:39:46 --> 00:39:48 he's doing? I think it's all part of Dutch's
00:39:48 --> 00:39:53 plan, to be honest. They get into sniping positions
00:39:53 --> 00:39:55 on the roof. A shootout begins. Once most of
00:39:55 --> 00:39:57 the men have been taken down, Ross sends John,
00:39:58 --> 00:40:00 of course, and two other men to the bank to go
00:40:00 --> 00:40:03 get Dutch. Once they fight their way up to him,
00:40:03 --> 00:40:07 we see that Dutch and one of his men have some
00:40:07 --> 00:40:11 hostages. Now, this is where John and Dutch talk
00:40:11 --> 00:40:14 for the first time in a long time. This is where
00:40:14 --> 00:40:16 we learned that Abigail was part of the gang.
00:40:16 --> 00:40:20 It gives more context of why John is working
00:40:20 --> 00:40:25 so hard to be able to help maybe clear her faults
00:40:25 --> 00:40:28 and her troubles with the law. And there will
00:40:28 --> 00:40:31 be a line later, I think, in the next part where
00:40:31 --> 00:40:34 Ross says something about if we don't have you
00:40:34 --> 00:40:38 to track people down, the next person. is your
00:40:38 --> 00:40:42 wife because she knows everybody so i think you're
00:40:42 --> 00:40:44 right i think a big part of this is her involvement
00:40:44 --> 00:40:48 is also adding a little more danger to to her
00:40:48 --> 00:40:54 as well so yeah about abigail we learn well dutch
00:40:54 --> 00:40:59 says you want the girl john you always were the
00:40:59 --> 00:41:05 romantic sort you know gentlemen this man here
00:41:05 --> 00:41:11 oh he married a whore Used to ride with us. We
00:41:11 --> 00:41:16 all had her. But he married her. And you know
00:41:16 --> 00:41:21 that makes him a better man than us. He's a better
00:41:21 --> 00:41:28 man. Have the girl, John. Easy, Dutch. She's
00:41:28 --> 00:41:30 a parting gift from me. And this is when he shoots
00:41:30 --> 00:41:33 her, pushes her towards John, and makes a run
00:41:33 --> 00:41:38 for it. First reactions to Dutch, I think, is
00:41:38 --> 00:41:41 where we need to go. I want to shoot him. I mean,
00:41:41 --> 00:41:44 because we knew DeSanta more, I feel like he's
00:41:44 --> 00:41:47 a bad man. But if I knew him more, I would think
00:41:47 --> 00:41:51 he's worse than DeSanta. This is our first encounter
00:41:51 --> 00:41:53 with this man. And I already hate him. I feel
00:41:53 --> 00:41:57 bad for Abigail to have her business being dragged
00:41:57 --> 00:41:59 out like that and make her look like a whore.
00:42:00 --> 00:42:04 I feel bad for her. I mean, technically. Huh?
00:42:04 --> 00:42:08 She was a prostitute. So he's not just throwing
00:42:08 --> 00:42:10 that term out there. I'm not saying it's a good
00:42:10 --> 00:42:14 thing to say. I'm just for your context. She
00:42:14 --> 00:42:19 was? She was a prostitute, yeah. But still, I
00:42:19 --> 00:42:26 guess you don't need to lure John in by dangling
00:42:26 --> 00:42:29 that piece of information for him to get more
00:42:29 --> 00:42:36 pissed and probably illogical. I just, I hate
00:42:36 --> 00:42:40 the guy. So there's a whole chase scene. And
00:42:40 --> 00:42:42 then one of the guards is just the audacity to
00:42:42 --> 00:42:46 start blaming John. Right. That this is all his
00:42:46 --> 00:42:50 fault. How? If you're so great, you do it yourself.
00:42:50 --> 00:42:53 Don't ask John to do it. John was at least trying
00:42:53 --> 00:42:56 to talk to him. Yeah. They were just standing
00:42:56 --> 00:42:57 there. What were you doing? What did you do?
00:42:58 --> 00:43:01 Exactly. And I'm glad John developed a backbone
00:43:01 --> 00:43:04 since leaving Mexico and he defends himself.
00:43:05 --> 00:43:09 And then this is where we get sassy John because
00:43:09 --> 00:43:12 he says, I should have just shot the girl myself.
00:43:12 --> 00:43:14 I don't know if that's, I'm paraphrasing, but
00:43:14 --> 00:43:17 that's pretty much what he's saying. And I love
00:43:17 --> 00:43:20 the sass. I love how he says it because it drives
00:43:20 --> 00:43:25 the point home that He did his best in those
00:43:25 --> 00:43:28 circumstances. Otherwise, this is what I could
00:43:28 --> 00:43:31 have done. Right. He was thinking about the hostages
00:43:31 --> 00:43:34 in this situation. What would the police rather
00:43:34 --> 00:43:37 have him do? What you were saying, just shoot
00:43:37 --> 00:43:40 her? Yeah. Just shoot through her head to shoot
00:43:40 --> 00:43:44 Dutch in the head? No. So they're writing after
00:43:44 --> 00:43:48 Dutch's men, arguing some more as they do. There's
00:43:48 --> 00:43:50 an interesting line John says, I'd kill you a
00:43:50 --> 00:43:52 hundred times before Dutch if it was an option.
00:43:53 --> 00:43:56 So we know he's not terribly fond of Dutch at
00:43:56 --> 00:43:59 this point, but he seems to be holding on to
00:43:59 --> 00:44:02 some sort of respect for him. How are you feeling
00:44:02 --> 00:44:07 about that dynamic? I don't know if it's respect,
00:44:07 --> 00:44:10 but I also don't know what it is. There's so
00:44:10 --> 00:44:14 much history there that there's still some level
00:44:14 --> 00:44:18 of... I don't know what the word is. Care, appreciation,
00:44:18 --> 00:44:24 loyalty. I don't know. They kill a bunch of his
00:44:24 --> 00:44:25 men, but Dutch is nowhere to be found, and that's
00:44:25 --> 00:44:28 the end of the gameplay. He is still missing.
00:44:31 --> 00:44:34 One more part left. How are you hoping this all
00:44:34 --> 00:44:37 ends? Well, I don't know if the storyline is
00:44:37 --> 00:44:39 going to end in this game, because I know there's
00:44:39 --> 00:44:43 Red Dead Redemption 2, 3, 4, whatever numbers
00:44:43 --> 00:44:46 they go up to. Of course, I'm hoping he ends
00:44:46 --> 00:44:49 up with Abigail and Jack, but I wouldn't be surprised
00:44:49 --> 00:44:53 if he goes home and then he has like maybe one
00:44:53 --> 00:44:56 hour with Abigail before she was dying or something.
00:44:56 --> 00:45:00 And then Jack is dead and he's just unhappy for
00:45:00 --> 00:45:03 the rest of his life. They poison the well at
00:45:03 --> 00:45:07 his ranch. Yeah. I'm hoping that he gets this
00:45:07 --> 00:45:10 happily ever after, though. As many bad things
00:45:10 --> 00:45:13 as he's done. He's trying to make up for it.
00:45:13 --> 00:45:17 So, yeah, he deserves some happiness. Anything
00:45:17 --> 00:45:20 else you want to get off your chest? No, not
00:45:20 --> 00:45:23 quite yet. But I think it's time for a wrap because
00:45:23 --> 00:45:26 my brain is starting to shut down. Same. No more
00:45:26 --> 00:45:28 Wednesdays. We've been recording for an hour
00:45:28 --> 00:45:30 and 20, which is like twice as long as we've
00:45:30 --> 00:45:32 been recording. I jinxed it because I was like,
00:45:33 --> 00:45:34 it's fine if we record this late. We're usually
00:45:34 --> 00:45:37 pretty quick about it. And then, bam, hour and
00:45:37 --> 00:45:39 a half. We spent 20 minutes for Louisa and 10
00:45:39 --> 00:45:43 minutes for intro. 30 minutes right there. Can
00:45:43 --> 00:45:45 we move Louisa to mother***** just for that?
00:45:45 --> 00:45:49 Yeah, she screwed us over. Okay, audacity on
00:45:49 --> 00:45:53 1, 3, 2, 1. Thank you for listening, and don't
00:45:53 --> 00:45:55 forget to send in any questions, comments, or
00:45:55 --> 00:45:58 game suggestions. You can find all our contact
00:45:58 --> 00:46:00 info on our website, replayreviewspod .com, or
00:46:00 --> 00:46:03 contact us directly through our site. Did we
00:46:03 --> 00:46:05 completely miss something? Are we way off the
00:46:05 --> 00:46:07 mark? Or do you just want us to take a deeper
00:46:07 --> 00:46:09 look at anything from the game? We'll tackle
00:46:09 --> 00:46:11 any topics you all want to hear in our season
00:46:11 --> 00:46:13 wrap -up episode. We also have a Reddit where
00:46:13 --> 00:46:15 we discuss anything we're curious about. Go take
00:46:15 --> 00:46:17 a look and let us know what you're thinking.
00:46:17 --> 00:46:20 Our theme music is Condemned by Eggie Toast.
00:46:20 --> 00:46:22 They'll play you out and we'll be back next week.