Welcome to Red Dead Redemption! In part one, we analyze our first gameplay video where we meet John Marston, the ex-outlaw, being coerced into tracking down members of his old gang. Notably, we talk about the dynamic between John and Bill (and question Bill’s full name 🤔). Also discussed are the charming glitches, legendary one-liners, and Seth’s questionable views on Aiden O’Leary’s extracurriculars.
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 --> 00:00:03 Season 4. It's here. Start of a new game? Start
00:00:03 --> 00:00:07 of a new game. Start of a new season. Starting
00:00:07 --> 00:00:11 Leia's favorite series. Yeah. We've waited a
00:00:11 --> 00:00:14 while to do it, but we're going to do Red Dead
00:00:14 --> 00:00:18 Redemption. The original. I'm pretty excited
00:00:18 --> 00:00:20 to do this game with you. And if you don't like
00:00:20 --> 00:00:22 it, I don't know how we're going to be able to
00:00:22 --> 00:00:26 continue. At this point, I have no choice if
00:00:26 --> 00:00:28 I don't like it, so I will learn to like it.
00:00:28 --> 00:00:30 I will tell you why you're wrong if you don't
00:00:30 --> 00:00:34 like it. Thank you for coming back for more replay
00:00:34 --> 00:00:36 reviews. My name is Leah. And my name is Kathy.
00:00:37 --> 00:00:39 We are two friends who are here to replay, review,
00:00:39 --> 00:00:42 and analyze your favorite video games. And since
00:00:42 --> 00:00:44 Kathy has never seen the games before, it helps
00:00:44 --> 00:00:47 me view them through her fresh eyes, almost like
00:00:47 --> 00:00:48 I'm discovering them again for the first time.
00:00:49 --> 00:00:50 We hope it will be a similar experience for you.
00:00:57 --> 00:01:00 In this episode, we learn that name creativity
00:01:00 --> 00:01:05 was not a thing in 1911, Jonah's an idiot, and
00:01:05 --> 00:01:10 booty moments are back. Our season one -ers will
00:01:10 --> 00:01:15 know what we mean. I don't know. I'm trying to
00:01:15 --> 00:01:17 think of what's appropriate to say. You're just
00:01:17 --> 00:01:19 trying to think of where was the booty moment
00:01:19 --> 00:01:23 that you missed. Okay, new thing we're kind of
00:01:23 --> 00:01:26 doing. It's not that big of a new thing. But
00:01:26 --> 00:01:28 just a little bit of introduction to the game
00:01:28 --> 00:01:30 we're playing. There's not much for this one
00:01:30 --> 00:01:33 other than it takes place in 1911 and it's one
00:01:33 --> 00:01:36 of my favorites. I've 100 % completed it like
00:01:36 --> 00:01:39 three times. So I've seen this one probably more
00:01:39 --> 00:01:42 than any of the other ones we've done. But there's
00:01:42 --> 00:01:44 still quite a bit I don't know about it because
00:01:44 --> 00:01:48 it's very deep. There's something about the introduction
00:01:48 --> 00:01:53 and the style that reminds me a lot about mafia
00:01:53 --> 00:01:57 usually our other games there can be multiple
00:01:57 --> 00:02:01 main characters but this one is similar to just
00:02:01 --> 00:02:03 off the top of my head i can think of is wolf
00:02:03 --> 00:02:07 among us and mafia where there's one main hero
00:02:07 --> 00:02:11 and we follow his story also forgot to mention
00:02:11 --> 00:02:14 it came out in 2010 so a bit of an older one
00:02:14 --> 00:02:17 which is sad because 2010 does not feel that
00:02:17 --> 00:02:22 long ago but it was it's 15 years ago Should
00:02:22 --> 00:02:26 we start and discuss the first scene of this
00:02:26 --> 00:02:31 game? Mm -hmm. So, we see a man. He kind of stands
00:02:31 --> 00:02:34 out. He's being led by two other men in suits
00:02:34 --> 00:02:37 to a train where he gets on alone. The first
00:02:37 --> 00:02:40 thing I noted was just the contrast between we'll
00:02:40 --> 00:02:44 learn soon his name is John versus everyone else.
00:02:44 --> 00:02:47 Everyone's in suits, dresses. There's cars where
00:02:47 --> 00:02:50 he's clearly the kind of guy that still rides
00:02:50 --> 00:02:54 a horse. We're kind of seeing the old versus
00:02:54 --> 00:02:57 the new. Everything around him is newer than
00:02:57 --> 00:03:02 he is. Or he appears to be. Yet of everyone there
00:03:02 --> 00:03:06 on the train, he seems to have the most class
00:03:06 --> 00:03:12 in terms of not being too vocal to... Try not
00:03:12 --> 00:03:15 to say too Karen about it. He's just minding
00:03:15 --> 00:03:19 his own business. And he demonstrates way more
00:03:19 --> 00:03:21 grace than... what we see of the ladies behind
00:03:21 --> 00:03:25 him and the man in front of him. He's keeping
00:03:25 --> 00:03:28 his thoughts to himself. As we're getting on
00:03:28 --> 00:03:32 the train, we walk past a newspaper boy, and
00:03:32 --> 00:03:35 he yells, first, health benefits of smoking,
00:03:35 --> 00:03:39 but then also Bill Williamson's gang terrorizes.
00:03:40 --> 00:03:43 He listens to the conversations of other travelers,
00:03:43 --> 00:03:46 silently reacting, as you were saying. The one
00:03:46 --> 00:03:49 note that I made out of all these conversations
00:03:49 --> 00:03:54 that we eavesdrop to is the, I think it's a father
00:03:54 --> 00:03:57 and daughter talking about basically like right
00:03:57 --> 00:04:00 and wrong, that kind of thing. And she says to
00:04:00 --> 00:04:04 him, Sometimes I find it impossible to make the
00:04:04 --> 00:04:07 distinction between a loving act and a hateful
00:04:07 --> 00:04:10 one. I mean, they often seem to be the same thing.
00:04:10 --> 00:04:12 Maybe we'll talk about this quote in the summary.
00:04:13 --> 00:04:17 But I wanted to note We see John reacting to
00:04:17 --> 00:04:20 everyone's conversations just in his facial expressions.
00:04:21 --> 00:04:23 And this is the first time where he kind of does
00:04:23 --> 00:04:26 a, well, you know, like she's got a point. Yeah.
00:04:27 --> 00:04:30 In this train, it seems like everyone thinks
00:04:30 --> 00:04:34 that they're high class and they're obviously
00:04:34 --> 00:04:36 benefiting from whatever is happening in this
00:04:36 --> 00:04:39 town. You're happy and you call it a good deed
00:04:39 --> 00:04:42 when it benefits you. Yet you need someone else
00:04:42 --> 00:04:44 to do the dirty work and you're going to criticize
00:04:44 --> 00:04:48 them for it. We do soon pull up to Armadillo.
00:04:48 --> 00:04:52 This is where John departs and heads to the saloon.
00:04:53 --> 00:04:56 On the way. And it's things like this that I
00:04:56 --> 00:05:00 just absolutely love about this game. A drunk
00:05:00 --> 00:05:02 man leaves the saloon as John is heading in.
00:05:02 --> 00:05:07 And he just stumbles and face plants. Walking
00:05:07 --> 00:05:10 into the saloon. I really like how it feels like
00:05:10 --> 00:05:13 those movie scenes that are very generic, but
00:05:13 --> 00:05:16 those Westerns where it's like, you know that
00:05:16 --> 00:05:19 song that they always play and they can hear
00:05:19 --> 00:05:21 a hawk in the background? I just feel like the
00:05:21 --> 00:05:24 game, the aesthetic is really well done in the
00:05:24 --> 00:05:26 scene. Oh, yeah. That's something I think we'll
00:05:26 --> 00:05:30 comment on a lot throughout this game. But yes,
00:05:30 --> 00:05:32 this is when we learn that his name is John Marston
00:05:32 --> 00:05:36 when someone calls out to him. This man's name
00:05:36 --> 00:05:39 was Jake. So he's hired by whoever sent Jon,
00:05:40 --> 00:05:44 who Jon is not fond of, to guide him. I don't
00:05:44 --> 00:05:48 think we ever see this man ever again in the
00:05:48 --> 00:05:51 game. And I don't know why we needed him to direct
00:05:51 --> 00:05:56 us such a short distance in reactions to him
00:05:56 --> 00:05:59 first. No, I was just kind of curious. You already
00:05:59 --> 00:06:00 answered my question. I was going to say that,
00:06:00 --> 00:06:02 like, what's up with him? Do we need to worry
00:06:02 --> 00:06:05 about him? Yeah, he's not important, but we do
00:06:05 --> 00:06:07 learn some things about Jon in talking to him,
00:06:07 --> 00:06:10 which might be the purpose of that character.
00:06:10 --> 00:06:14 So they head out, but the drunk guy is still
00:06:14 --> 00:06:17 on the ground when they leave. I wanted to see
00:06:17 --> 00:06:21 him laying face -planted in a pile of his own
00:06:21 --> 00:06:23 vomit. I feel like that would have made the game
00:06:23 --> 00:06:28 better. Yeah. You can vomit in the second game.
00:06:28 --> 00:06:33 Oh. Anyway, so Jake takes us to Fort Mercer.
00:06:33 --> 00:06:35 And on the ride there, we learn that John is
00:06:35 --> 00:06:39 looking for an old friend, he says. But we ain't
00:06:39 --> 00:06:42 been friends for a long time. We also learn that
00:06:42 --> 00:06:47 John is married when Jake is discussing prostitutes.
00:06:47 --> 00:06:51 And Jake says, ain't we all? Just the way he
00:06:51 --> 00:06:59 says it is so off -putting. Yeah. There's a great
00:06:59 --> 00:07:03 baseline. The expectation is you do better than
00:07:03 --> 00:07:08 that kind of guy. Yeah. I wanted him to die immediately.
00:07:08 --> 00:07:13 Oh. Can you shoot him? Probably. You might fail
00:07:13 --> 00:07:16 the mission, though. I've never tried it. And
00:07:16 --> 00:07:19 one of my favorite lines, maybe in the game,
00:07:19 --> 00:07:22 I'll probably say that a lot, but he says, you
00:07:22 --> 00:07:25 ain't very talkative, are you, to John? And John
00:07:25 --> 00:07:29 just goes, no! Well, would have been better if
00:07:29 --> 00:07:33 John just grunted, uh. I think we can all relate
00:07:33 --> 00:07:36 a lot to John sometimes. He's a very real character.
00:07:36 --> 00:07:38 I wish he did more eye -rolling on the train.
00:07:40 --> 00:07:42 So we arrive at Fort Mercer, where Jake informs
00:07:42 --> 00:07:46 us a gang took over, and then he leaves. Coward
00:07:46 --> 00:07:49 that he is. Probably to go back to the prostitute
00:07:49 --> 00:07:53 he was heckling. Also, you mentioned this, but
00:07:53 --> 00:07:56 we skipped over it. When John meets up with him.
00:07:57 --> 00:08:01 He pushes a prostitute off of him. But he pushes
00:08:01 --> 00:08:06 her by her boobs. Her chest. So unnecessary.
00:08:07 --> 00:08:13 Let's shoot him. In the game. Well. We're not
00:08:13 --> 00:08:17 murderers in real life. If there's a sound bite
00:08:17 --> 00:08:20 of just me going, let's shoot him. Not physically,
00:08:20 --> 00:08:25 but mentally. I think we've all killed somebody
00:08:25 --> 00:08:28 mentally. Should have seen us on the drive today.
00:08:29 --> 00:08:32 Getting back on track, John approaches the fort
00:08:32 --> 00:08:36 and calls out for Bill Williamson. And this is
00:08:36 --> 00:08:38 where we need to pause. I've played this game
00:08:38 --> 00:08:41 a lot. I've known for a long time that this character's
00:08:41 --> 00:08:44 name is Bill Williamson. But for some reason,
00:08:44 --> 00:08:47 it took until now to come to this realization.
00:08:48 --> 00:08:51 So, Kathy, can you tell me, what is Bill short
00:08:51 --> 00:08:57 for? William. right his name is william williamson
00:08:57 --> 00:09:01 i was wondering that too i thought that it's
00:09:01 --> 00:09:03 one of those situations where you know how like
00:09:03 --> 00:09:05 guys like to call each other by their last names
00:09:05 --> 00:09:07 so it's like williamson and they short that for
00:09:07 --> 00:09:09 william and you short it for even more so it's
00:09:09 --> 00:09:11 bill so it almost seems like bill is his nickname
00:09:11 --> 00:09:14 but i don't know if people are stupid enough
00:09:14 --> 00:09:17 to say william williamson my son's dad was william
00:09:17 --> 00:09:22 williamson senior I'll have to dig into the lore
00:09:22 --> 00:09:24 to find out if that's a nickname or not. But
00:09:24 --> 00:09:27 if his parents named him William Williamson,
00:09:27 --> 00:09:31 no wonder he joined a gang. That's just, that's
00:09:31 --> 00:09:34 cruel. Any William Williamson's out there in
00:09:34 --> 00:09:39 real life? Do you go by Bill? Yeah. Let us know.
00:09:40 --> 00:09:44 Any other reactions to this scene, their dialogue?
00:09:44 --> 00:09:48 Well, my next note was that how did Bill... Or
00:09:48 --> 00:09:53 William. How did he know that John was... Do
00:09:53 --> 00:09:57 you think that Bill knew that John was coming
00:09:57 --> 00:10:00 after him? And that's why he was just so ready
00:10:00 --> 00:10:04 by the gates to respond? Not necessarily. It
00:10:04 --> 00:10:06 sounds like his gang is just hiding out there.
00:10:07 --> 00:10:11 They probably just have scouts. People posted
00:10:11 --> 00:10:14 by the gates. That would be my guess. But it's
00:10:14 --> 00:10:19 possible. I don't know. Okay, so there's a few
00:10:19 --> 00:10:22 things that we learn from this conversation between
00:10:22 --> 00:10:26 them. John says, we was as brothers once. Bill,
00:10:26 --> 00:10:28 please, they want to kill us all. I can help
00:10:28 --> 00:10:31 you. And Bill responds, you never tried to save
00:10:31 --> 00:10:35 me before. You only seem to save yourself. Thoughts?
00:10:35 --> 00:10:39 What happened? They were once bros, and now...
00:10:39 --> 00:10:45 What happened? Yeah, I mean, they obviously had
00:10:45 --> 00:10:49 something going on. I'm curious if John's wife
00:10:49 --> 00:10:51 got in the middle of things and he had to choose
00:10:51 --> 00:10:55 between his brother, Bill, or his wife, whatever
00:10:55 --> 00:11:00 her name is. I'm also curious if he's being framed
00:11:00 --> 00:11:04 for something that he didn't do and then Bill
00:11:04 --> 00:11:08 mistook it, thinking that, oh, John betrayed
00:11:08 --> 00:11:10 me, but no, John just got framed. It does seem
00:11:10 --> 00:11:13 like there's a disconnect between their viewpoints.
00:11:14 --> 00:11:17 Because you would think that if John knew that
00:11:17 --> 00:11:20 Bill hated him, he wouldn't be pleading his case
00:11:20 --> 00:11:24 like that. He also mentions someone named Dutch.
00:11:24 --> 00:11:26 He says, now I'm in charge, no more Dutch and
00:11:26 --> 00:11:29 no more you. So we're learning a little bit more
00:11:29 --> 00:11:32 about the history of all these characters. The
00:11:32 --> 00:11:36 exchange does end in John getting shot. And he's
00:11:36 --> 00:11:39 just laid out on the ground until someone spots
00:11:39 --> 00:11:42 him and loads him into their wagon. And we also
00:11:42 --> 00:11:45 saw this woman on the train. I do have some questions.
00:11:45 --> 00:11:47 So as soon as John is shot, he's laying there.
00:11:47 --> 00:11:50 I think it's a hawk. I'm not a good bird person,
00:11:50 --> 00:11:53 but there's some kind of bird just kind of flying
00:11:53 --> 00:11:56 around him. So is there some kind of symbology
00:11:56 --> 00:12:00 around that? Yeah, I think it's a vulture. I
00:12:00 --> 00:12:02 think it's symbolizing that he's just, he's almost
00:12:02 --> 00:12:08 dead. Okay. I was like, it's a hawk. Dead man.
00:12:08 --> 00:12:10 Well, it's not really walking. Dead man laying.
00:12:11 --> 00:12:15 John wakes up some time later where a woman whose
00:12:15 --> 00:12:18 name is Bonnie informs him that they spent $15
00:12:18 --> 00:12:21 to save his life and then asks him why he was
00:12:21 --> 00:12:24 being stupid. I'm just wondering, how much is
00:12:24 --> 00:12:27 $15 in today's money? Because she makes it sound
00:12:27 --> 00:12:30 like a big deal. So I'm wondering, is it a big
00:12:30 --> 00:12:32 deal or is it that she wants to keep him here?
00:12:33 --> 00:12:38 Let's find out. It would be about $501 today.
00:12:39 --> 00:12:45 Oh, okay. So it's not pocket change, but it's
00:12:45 --> 00:12:50 not, you know, ranch ending. Yeah. Anyway, in
00:12:50 --> 00:12:53 response to her asking why he was being stupid,
00:12:53 --> 00:12:55 he says, I was trying to give Mr. Williamson
00:12:55 --> 00:12:59 a chance for old time's sake. Now I'm going to
00:12:59 --> 00:13:02 take my time and go after him the less kind way.
00:13:02 --> 00:13:04 He should have done the less kind way to begin
00:13:04 --> 00:13:10 with. Yeah, he almost died. Yeah. So far, I like
00:13:10 --> 00:13:13 Bonnie. I feel like she's going to be a great,
00:13:13 --> 00:13:16 strong female. So she gives me some Sarah vibes
00:13:16 --> 00:13:20 from Mafia. But I'm also worried that they're
00:13:20 --> 00:13:22 just going to make her character go downhill.
00:13:22 --> 00:13:25 Yeah, we like her right now, right? She seems
00:13:25 --> 00:13:28 capable. She's got a sense of humor. She saved
00:13:28 --> 00:13:32 John. She also pretty much runs a ranch. And
00:13:32 --> 00:13:35 she says that John can work off the $15 debt
00:13:35 --> 00:13:38 by helping out. She gives him a tour before he
00:13:38 --> 00:13:41 rests, and then sometime later she asks him to
00:13:41 --> 00:13:45 help keep watch for wrestlers. And I have to
00:13:45 --> 00:13:48 pull it up. There's a moment where I think my
00:13:48 --> 00:13:51 horse gets mad at me, and it tries to punch me
00:13:51 --> 00:13:55 with its head. So let me pull it up. Here we
00:13:55 --> 00:14:05 go. What'd you do to the horse? We got so mad
00:14:05 --> 00:14:08 at me. I knew you were about to shoot the bunnies,
00:14:08 --> 00:14:11 Leah. That's why. I don't have an option. The
00:14:11 --> 00:14:15 game cannot progress. The poor things. Well,
00:14:15 --> 00:14:17 they shouldn't have been there. Yeah, but they're
00:14:17 --> 00:14:22 hungry. The deeper question. How do you feel
00:14:22 --> 00:14:24 about shooting coyotes if they're killing chickens?
00:14:25 --> 00:14:28 I feel like there's a better way of getting rid
00:14:28 --> 00:14:30 of them than to shoot them. I thought that was
00:14:30 --> 00:14:33 going to be a bigger ethical question for you,
00:14:33 --> 00:14:37 but it wasn't. Anyway, after our horse tries
00:14:37 --> 00:14:44 to punch us, Bonnie glitches. It's really awkward.
00:14:45 --> 00:14:48 Pull it together, Bonnie. I think we're going
00:14:48 --> 00:14:50 to track glitches in this game because they're
00:14:50 --> 00:14:54 funny. And then after patrolling the ranch, John
00:14:54 --> 00:14:55 heads to bed. And that's the end of scene one.
00:14:56 --> 00:14:59 I also want to mention how much our main character,
00:14:59 --> 00:15:02 John, looks like Bigby Wolf from The Wolf Among
00:15:02 --> 00:15:05 Us. And you don't know if it's like... The longish
00:15:05 --> 00:15:08 brown hair or the way they carry themselves are
00:15:08 --> 00:15:12 the way they don't like talking. There's just
00:15:12 --> 00:15:15 something about it. Do you see the ties between
00:15:15 --> 00:15:18 those two? I do. I get it. And ironically enough,
00:15:18 --> 00:15:22 I think this is the last one. But remember back
00:15:22 --> 00:15:24 in Wolf Among Us when I said all my favorite
00:15:24 --> 00:15:27 characters, or maybe it was even Yakuza 0, all
00:15:27 --> 00:15:29 my favorite characters have random ties to dogs.
00:15:29 --> 00:15:34 It was Majima. It was Bigby. It was Connor. John
00:15:34 --> 00:15:37 is one of them because he got those scars from
00:15:37 --> 00:15:43 wolves. Oh, okay. It's the next day. John heads
00:15:43 --> 00:15:46 to Bonnie's house where she asks him about his
00:15:46 --> 00:15:49 connection to Bill. She's a little bit nosy,
00:15:49 --> 00:15:51 but I think it's fair to ask these questions
00:15:51 --> 00:15:54 when you took this guy in, right? He could be
00:15:54 --> 00:15:56 dangerous messing around with Bill. You don't
00:15:56 --> 00:15:59 know. John's response to her asking, though,
00:15:59 --> 00:16:01 is I don't mind you asking if you don't mind
00:16:01 --> 00:16:04 me not telling. Fair. But it seems like the truth
00:16:04 --> 00:16:08 is dangerous. Any reactions to that? He's just
00:16:08 --> 00:16:11 trying to get in and get out of the situation
00:16:11 --> 00:16:15 of just take care of Bill and just leave. Because
00:16:15 --> 00:16:19 the more people know about him, the less he's
00:16:19 --> 00:16:22 able to just take care of things without people
00:16:22 --> 00:16:24 realizing he's there. But that's such a great
00:16:24 --> 00:16:26 response to when people say, do you mind me asking
00:16:26 --> 00:16:30 instead of just saying no? His one -liners are
00:16:30 --> 00:16:33 legendary. Bonnie does take slight offense, I
00:16:33 --> 00:16:36 think, during the exchange, and so she challenges
00:16:36 --> 00:16:39 John to a race. I don't know if she just took
00:16:39 --> 00:16:41 offense to it or if she's just wanting to continue
00:16:41 --> 00:16:44 to flirt. And it's like a bunch of weird one
00:16:44 --> 00:16:47 -liners of them trying to crush on each other
00:16:47 --> 00:16:50 and just flirt, but it's not landing well. Are
00:16:50 --> 00:16:52 you talking about during the race? Yeah, during
00:16:52 --> 00:16:54 the race. Okay, I think that that might be another
00:16:54 --> 00:17:00 glitch because the controls for the whores. They
00:17:00 --> 00:17:02 don't turn on a dime. It takes a minute to get
00:17:02 --> 00:17:05 used to them, but thankfully I've played it so
00:17:05 --> 00:17:08 many times. So I think they expect you to be
00:17:08 --> 00:17:11 closer to Bonnie, and so they're just having
00:17:11 --> 00:17:15 John let out these one -liners, and he just keeps
00:17:15 --> 00:17:18 rattling them up, just rapid -fire one -liners,
00:17:18 --> 00:17:21 and Bonnie doesn't respond at all. Yeah. And
00:17:21 --> 00:17:24 it's really funny. It's really awkward. How you
00:17:24 --> 00:17:28 doing back there? I bet you're starting to regret
00:17:28 --> 00:17:32 your brave words, Miss McFarlane. Should I wait
00:17:32 --> 00:17:35 for you to catch up? Are you saving the best
00:17:35 --> 00:17:38 for last? And then at some point Bonnie catches
00:17:38 --> 00:17:41 up and she does one and it's like something stupid
00:17:41 --> 00:17:44 like, ain't this better than milking cows? This
00:17:44 --> 00:17:47 sure beats milking cows! Alright, so after the
00:17:47 --> 00:17:50 race, Bonnie suggests that John visit the marshal.
00:17:51 --> 00:17:54 We need to pause for a minute. The out -of -context
00:17:54 --> 00:17:57 summary about name creativity? Some of that was
00:17:57 --> 00:18:02 about William Williamson. But also, we have John
00:18:02 --> 00:18:05 Marston. On the train, they referenced Nate Johns.
00:18:06 --> 00:18:11 And now we have Marshall Johnson? A lot of John
00:18:11 --> 00:18:17 -ja -ja sounds. What is this? John then meets
00:18:17 --> 00:18:19 back up with Bonnie, who asks him to accompany
00:18:19 --> 00:18:23 her to Armadillo. And they chat on the way. We
00:18:23 --> 00:18:27 learn that he's a farmer. His old co -workers,
00:18:27 --> 00:18:30 in quotes, wanted to go to New Austin, the last
00:18:30 --> 00:18:34 true outlaw country. What do you think about
00:18:34 --> 00:18:37 them wanting to go to outlaw country? What does
00:18:37 --> 00:18:39 that say about them? I think they're just avoiding
00:18:39 --> 00:18:43 civilization. The train conversation is saying
00:18:43 --> 00:18:47 that there's obviously a bunch of elitists and
00:18:47 --> 00:18:49 people bringing in wealth and not liking how
00:18:49 --> 00:18:52 people live. And they know that their city or
00:18:52 --> 00:18:55 their town is changing so rapidly. They probably
00:18:55 --> 00:18:58 just want to continue to live like savages according
00:18:58 --> 00:19:04 to what the elitists were saying. So Bonnie goes
00:19:04 --> 00:19:07 about her errands. John goes to check in with
00:19:07 --> 00:19:09 the marshal. This is where we meet Jonah, the
00:19:09 --> 00:19:13 idiot. And then eventually the marshal will walk
00:19:13 --> 00:19:15 in. And John says, I'm here to capture or kill
00:19:15 --> 00:19:18 Bill Williamson. Can you help me? The marshal
00:19:18 --> 00:19:21 is hesitant, but they make a deal. John will
00:19:21 --> 00:19:23 help him deal with the local gang in exchange
00:19:23 --> 00:19:27 for his help with Williamson. Reactions? Do you
00:19:27 --> 00:19:31 like the Marshall character? I do. He seems like
00:19:31 --> 00:19:34 a pretty straightforward, honest guy who just
00:19:34 --> 00:19:37 really wants to do his community good. It seems
00:19:37 --> 00:19:40 like it's him against the world. And so he's
00:19:40 --> 00:19:44 happy to have someone else similar to him, like
00:19:44 --> 00:19:48 John, help him out because it feels like his
00:19:48 --> 00:19:53 staff are pretty... Uh, not really competent?
00:19:54 --> 00:19:58 Yeah, it does. I don't remember who calls who
00:19:58 --> 00:20:02 a dickhead, but was that, like, did we use that
00:20:02 --> 00:20:06 term back in 1911? I don't think so. Let's see.
00:20:07 --> 00:20:17 Did people say dickhead in 1911? Okay, so ironically,
00:20:17 --> 00:20:20 this I can only find one date. as to when it
00:20:20 --> 00:20:23 might have originated. So it may not be true.
00:20:23 --> 00:20:25 I'm not going to research this for much longer.
00:20:25 --> 00:20:32 But ironically, the year is 1969. So we're just
00:20:32 --> 00:20:36 going to leave that there. We all like a good
00:20:36 --> 00:20:40 scream that gets cut off too early, right? We
00:20:40 --> 00:20:44 all like that. Well, we get one at 42 .28. So
00:20:44 --> 00:20:46 let me just go ahead and share this with you.
00:20:52 --> 00:20:54 I wrote a note saying that we really like the
00:20:54 --> 00:20:59 insult, dumb rat bastard. I just don't, I can't
00:20:59 --> 00:21:01 remember in the context of how it was used, if
00:21:01 --> 00:21:03 it was referring to that gang or if it's just
00:21:03 --> 00:21:07 a general term, but I think it's an insult I'm
00:21:07 --> 00:21:10 going to use moving forward. Yes. It was when
00:21:10 --> 00:21:13 they follow one of the gang members out of, he's
00:21:13 --> 00:21:16 walking out of the saloon and they spot him and
00:21:16 --> 00:21:18 the Marsha goes, there's a dumb rat bastard now.
00:21:19 --> 00:21:21 And just for some reason, the combination of
00:21:21 --> 00:21:24 adding dumb into rat bastard, like, it just,
00:21:24 --> 00:21:29 it's just so insulting for some reason. Maybe
00:21:29 --> 00:21:32 instead of mother****s in this game, they should
00:21:32 --> 00:21:36 just be dumb rat bastards. Yeah. Instead. So
00:21:36 --> 00:21:38 after dealing with this gang, capturing who they
00:21:38 --> 00:21:40 need to capture, John meets back up with the
00:21:40 --> 00:21:42 marshal, where they're interrupted by one of
00:21:42 --> 00:21:46 his deputies, I think, Eli, who's just as stupid
00:21:46 --> 00:21:50 as Jonah. He says that he spotted rustlers and
00:21:50 --> 00:21:52 John agrees to help in exchange for help with
00:21:52 --> 00:21:55 Bill. They keep doing that. Like, okay, help
00:21:55 --> 00:21:58 me with Bill. Like, didn't we already agree that
00:21:58 --> 00:22:02 anything that John is going to help with, the
00:22:02 --> 00:22:05 sheriff is already like in agreement that I'm
00:22:05 --> 00:22:06 going to help you with Bill. So you don't need
00:22:06 --> 00:22:10 to keep feeling like you're obligated. So maybe
00:22:10 --> 00:22:12 it's just me, but it seems kind of unnecessary.
00:22:12 --> 00:22:16 Like, just do it. I think in this context, it
00:22:16 --> 00:22:19 was. agreed upon it was the one i'm gonna help
00:22:19 --> 00:22:21 you with this gang and then you'll help me like
00:22:21 --> 00:22:25 the one help so i think that's why he's leveraging
00:22:25 --> 00:22:27 it again but i also think that john just kind
00:22:27 --> 00:22:30 of likes doing this if we're being honest he
00:22:30 --> 00:22:34 does i think he kind of likes it on the way to
00:22:34 --> 00:22:36 deal with the wrestlers john is grilled about
00:22:36 --> 00:22:40 his connection to the government he says about
00:22:40 --> 00:22:43 working for them with them it was made impossible
00:22:43 --> 00:22:47 for me not to i don't know what role the government
00:22:47 --> 00:22:51 will play in it because it also seems like the
00:22:51 --> 00:22:56 marshal isn't really part of like a government
00:22:56 --> 00:23:00 agency we've only really heard a couple mentions
00:23:00 --> 00:23:03 at this point all we really know is that the
00:23:03 --> 00:23:08 marshal received a telegram from blackwater and
00:23:08 --> 00:23:10 he references that it was from the government
00:23:10 --> 00:23:13 so there's some government agency in blackwater
00:23:13 --> 00:23:19 that controlling John, I guess. Because it seems
00:23:19 --> 00:23:24 like he's here against his will. Also, his insults
00:23:24 --> 00:23:28 are just too good when Jonah's kind of pressing
00:23:28 --> 00:23:30 him, talking shit. Listen to your boss, Jonah.
00:23:31 --> 00:23:34 There's a good boy. Otherwise, I'll put a hole
00:23:34 --> 00:23:36 in your hillbilly head and watch your tiny brain
00:23:36 --> 00:23:40 drain out. It's like, again, adding tiny to it.
00:23:41 --> 00:23:43 It's like just adding dumb to dumb right bastard,
00:23:43 --> 00:23:46 adding tiny to this. It just elevates the insult.
00:23:47 --> 00:23:50 I like that insult, but I can't ever see myself
00:23:50 --> 00:23:52 using that in public, so I'm going to start tracking
00:23:52 --> 00:23:56 pretty feasible insults that we can start using.
00:23:56 --> 00:24:00 Yeah, not many opportunities to watch your brain
00:24:00 --> 00:24:03 drain out, huh? I sounded disappointed when I
00:24:03 --> 00:24:08 said that. That's a little messed up. Okay, after
00:24:08 --> 00:24:10 handling the rustlers and fraying their ranch
00:24:10 --> 00:24:13 hands, Eli mentions someone named Wes Dickens
00:24:13 --> 00:24:16 is missing. The marshal's reaction, at first
00:24:16 --> 00:24:18 he's like, who the hell is he talking about?
00:24:18 --> 00:24:21 Then he goes, oh, the narcotic and bat piss salesman.
00:24:24 --> 00:24:29 Oh, so blunt. Yeah. He just said it so easily.
00:24:29 --> 00:24:33 It's great. He says it like it's a fact. Right,
00:24:33 --> 00:24:37 exactly. So moving on to scene three, John tracks
00:24:37 --> 00:24:40 down this missing Wes Dickens. He's stranded
00:24:40 --> 00:24:43 on the side of the road, and he helps him into
00:24:43 --> 00:24:48 his stagecoach. Okay, Kathy, this is it. We get
00:24:48 --> 00:24:53 a TBM. Total booty moment. We've had ABMs, the
00:24:53 --> 00:24:56 almost booty moment. We've had FBMs, the full
00:24:56 --> 00:25:00 booty moment. This is a tangible booty moment.
00:25:02 --> 00:25:07 Touchable. Yeah. John pushes Wes Dickens' ass
00:25:07 --> 00:25:11 to get him up into the wagon. Do we actually
00:25:11 --> 00:25:15 see it? Show it, show it, show it. I'll pull
00:25:15 --> 00:25:20 it up. First BM. First booty moment in, like,
00:25:20 --> 00:25:26 two seasons. Oh, man. It's a touchable booty
00:25:26 --> 00:25:30 moment. Thoughts on Wes Dickens? He seems very
00:25:30 --> 00:25:34 dramatic. Hold on, let me finish this piece.
00:25:34 --> 00:25:42 Bean. This piece of bean is a line I've never
00:25:42 --> 00:25:44 heard in my life, and I don't think I'll ever
00:25:44 --> 00:25:48 hear it again. Let me finish this piece of bean.
00:25:49 --> 00:25:55 I wasn't thinking clearly. I'm obviously not
00:25:55 --> 00:25:59 caffeinated enough, so I'm eating espresso beans.
00:26:01 --> 00:26:03 portion of an espresso bean left so I'm like
00:26:03 --> 00:26:07 this piece of and I was chewing so I couldn't
00:26:07 --> 00:26:09 even say the word espresso well but the thing
00:26:09 --> 00:26:12 is it makes sense knowing it's an espresso like
00:26:12 --> 00:26:14 travel powered espresso bean but that's the only
00:26:14 --> 00:26:17 context in when a bean is in a piece you know
00:26:17 --> 00:26:24 what I mean my gosh sorry what did I even ask
00:26:24 --> 00:26:30 you oh what reactions I feel like he's a scammer
00:26:31 --> 00:26:36 But because John saved him, it's foreshadowing
00:26:36 --> 00:26:40 something that maybe he'll come in handy that
00:26:40 --> 00:26:43 they'll need to scam Bill. Dickens is the perfect
00:26:43 --> 00:26:47 person to pretty much be a distraction so John
00:26:47 --> 00:26:50 can do whatever he needs. John drives his wagon
00:26:50 --> 00:26:54 to town and on the way it appears that Wes Dickens
00:26:54 --> 00:26:57 has heard of John somehow. I guess word travels
00:26:57 --> 00:26:59 fast. But I also feel like Wes Dickens would
00:26:59 --> 00:27:03 be that one person who knows a little bit on
00:27:03 --> 00:27:07 everyone. We learn he travels around quite a
00:27:07 --> 00:27:10 bit. Yeah. And he also seems like the personality
00:27:10 --> 00:27:12 to strike up conversations with anyone and get
00:27:12 --> 00:27:16 small pieces of intel. We make it safely to Armadillo
00:27:16 --> 00:27:19 where John leaves Wes Dickens with the doctor
00:27:19 --> 00:27:22 to heal. After this, John checks back in with
00:27:22 --> 00:27:25 Bonnie. Their back and forth is pretty good.
00:27:25 --> 00:27:28 I like these characters. They have good chemistry,
00:27:28 --> 00:27:31 but it's pretty obvious that Bonnie is flirting
00:27:31 --> 00:27:35 and John is not. I don't know if that's how you
00:27:35 --> 00:27:39 feel. Yeah, I get kind of uncomfortable because
00:27:39 --> 00:27:42 soon we learn that I don't know if he's still
00:27:42 --> 00:27:46 married or he was married or if he's divorced.
00:27:46 --> 00:27:50 I'm not sure what the context is, but I definitely
00:27:50 --> 00:27:52 get the vibe that she's flirting and then he
00:27:52 --> 00:27:57 isn't really. He's doing the polite brush off.
00:27:58 --> 00:28:01 Yes, but he's also not obvious enough to pretty
00:28:01 --> 00:28:03 much say that, no, I'm not interested. So he
00:28:03 --> 00:28:05 leaves her hanging, and I feel like that's a
00:28:05 --> 00:28:08 bit unfair. Oddly enough, though, this is when
00:28:08 --> 00:28:12 he comes clean a bit about some things. He says
00:28:12 --> 00:28:15 that he is married. He has a son. He had a daughter,
00:28:15 --> 00:28:18 but she died. He strived with a gang. He says
00:28:18 --> 00:28:20 Bill Williamson was in that gang. If he does
00:28:20 --> 00:28:23 not capture him, his family will be in danger.
00:28:23 --> 00:28:26 The leader, he says, was a great man in a way.
00:28:26 --> 00:28:27 It sounds like he helped him learn how to read.
00:28:28 --> 00:28:30 He's been trying to put that life behind him.
00:28:31 --> 00:28:34 Yeah, multiple questions. But it could be one
00:28:34 --> 00:28:36 of those situations where the video game just
00:28:36 --> 00:28:38 drops this nugget and never talks about it again.
00:28:39 --> 00:28:42 So he says about his mother was a prostitute.
00:28:43 --> 00:28:46 And then he says, my father was one of her, I
00:28:46 --> 00:28:49 don't know. You could say he was one of her Johns,
00:28:49 --> 00:28:53 right? And so I'm kind of like, is that how he
00:28:53 --> 00:28:58 got his name? Is that why they named him John
00:28:58 --> 00:29:02 at the orphanage? Or John Doe? I like mine better.
00:29:02 --> 00:29:07 Yeah. I wonder if the orphanage knew what his
00:29:07 --> 00:29:12 mother's occupation was. Yeah. Oh, it was a prostitute's
00:29:12 --> 00:29:14 son? Well, that means John is the name. Like,
00:29:14 --> 00:29:17 they just have categories. Or it could be like,
00:29:17 --> 00:29:21 oh, it was William's son? Maybe he'll be... Bill,
00:29:21 --> 00:29:27 spice it up. Oh, dear. Anyway, after this very
00:29:27 --> 00:29:30 deep conversation, John herds some cattle for
00:29:30 --> 00:29:33 Bonnie. There's absolutely, like, no transition.
00:29:34 --> 00:29:37 They just move into this after this really intense
00:29:37 --> 00:29:44 conversation. I hate cows after playing this
00:29:44 --> 00:29:47 game. There's too many cow missions. I hate them.
00:29:49 --> 00:29:51 Any notes on the cows? I mean, the good thing
00:29:51 --> 00:29:54 is you like real cows. The cows that we drive
00:29:54 --> 00:29:57 by. Oh, yeah. That's a cool cow. That's like
00:29:57 --> 00:29:59 a not a normal cow, though. Yeah. That's a cool
00:29:59 --> 00:30:03 cow. The drippy cow, too. He's got cute little
00:30:03 --> 00:30:08 dangly ears. Anyway. The cow thing is pretty
00:30:08 --> 00:30:10 pointless, though. I don't understand why we
00:30:10 --> 00:30:12 have to keep going on missions that aren't moving
00:30:12 --> 00:30:15 the story forward. It's just to pay off the debt.
00:30:16 --> 00:30:18 We at least have the reason for doing it, but
00:30:18 --> 00:30:22 it doesn't feel like we get a lot out of it as
00:30:22 --> 00:30:25 the player. This is not even the worst cow mission,
00:30:25 --> 00:30:29 though. There will be a worse one. So, some time
00:30:29 --> 00:30:32 later, continuing to work off his debt to Bonnie,
00:30:32 --> 00:30:34 John heads to her house again to be greeted not
00:30:34 --> 00:30:37 only by her, but also her father, Drew. They
00:30:37 --> 00:30:40 chat and then leave to go break some wild horses.
00:30:40 --> 00:30:44 Any reactions to Drew or this conversation? Why
00:30:44 --> 00:30:47 do we care about him? I don't know, but he looks...
00:30:47 --> 00:30:52 He looks okay. We were talking about it when
00:30:52 --> 00:30:53 we were watching it together. I'm like, he doesn't
00:30:53 --> 00:30:56 look like a real person. He looks weirder than
00:30:56 --> 00:30:57 the rest, and I just figured out what he looks
00:30:57 --> 00:31:04 like. What? He looks like the Lorax. Oh! Dude,
00:31:04 --> 00:31:08 what if this is some kind of Lorax remake? Which,
00:31:08 --> 00:31:10 I usually don't know movies at all, but this
00:31:10 --> 00:31:12 is one that we had to watch for school. So I
00:31:12 --> 00:31:16 have seen this one. I think we just need to spray
00:31:16 --> 00:31:23 paint him a bit orange. You're way too happy
00:31:23 --> 00:31:29 about this. Look at the comparison. The Lorax.
00:31:30 --> 00:31:36 Drew McFarlane. It's that beard. Sorry, did you
00:31:36 --> 00:31:40 have any more notes on him? No, I just, that's
00:31:40 --> 00:31:43 it for my scene. Same. They break some horses.
00:31:44 --> 00:31:49 Cool. John gets a stallion out of it. Nice. Moving
00:31:49 --> 00:31:53 on to the next scene. John catches up with a
00:31:53 --> 00:31:55 healed Wes Dickens who convinces him to help
00:31:55 --> 00:31:58 sell his tonic. He's a little misleading about
00:31:58 --> 00:32:00 it. This chapter is really just teaching us how
00:32:00 --> 00:32:02 to use Deadeye, which I don't use very often.
00:32:02 --> 00:32:05 I don't know why. But they swindle a crowd at
00:32:05 --> 00:32:09 Ridgewood Farm. Wes Dickens is not so eager to
00:32:09 --> 00:32:12 let John go after how... successfully swindled
00:32:12 --> 00:32:16 everybody. He proposes that he go see his curious
00:32:16 --> 00:32:20 friend, Seth, because the two of them can gain
00:32:20 --> 00:32:24 access to Fort Mercer. Why did he need to go
00:32:24 --> 00:32:29 with Dickens? And why did he go along with pretty
00:32:29 --> 00:32:32 much just Grifter? Like, he knows that his ability
00:32:32 --> 00:32:34 to shoot has nothing to do with the tonic. Yeah,
00:32:34 --> 00:32:38 he's okay with scamming people's money. And it's
00:32:38 --> 00:32:39 not like there was an outright agreement saying
00:32:39 --> 00:32:41 that, like, hey, I actually know a lot about
00:32:41 --> 00:32:45 Bill. Help me and I'll help you. It's not really
00:32:45 --> 00:32:50 that kind of situation. So I'm confused. John
00:32:50 --> 00:32:52 is assuming that he's going to help him because
00:32:52 --> 00:32:55 he saved his life or whatever. But I do feel
00:32:55 --> 00:32:58 like John is a little bit, despite everything
00:32:58 --> 00:33:00 he's been through, he's a little too trusting
00:33:00 --> 00:33:04 of people. People take advantage of him a little
00:33:04 --> 00:33:07 bit in this game especially. He's very naive.
00:33:08 --> 00:33:11 he's trying too hard to not be what he needs
00:33:11 --> 00:33:16 to be for this this task that he has set upon
00:33:16 --> 00:33:18 him because he's trying to not be that person
00:33:18 --> 00:33:20 anymore but he really just needs to be that person
00:33:20 --> 00:33:23 for this we might need to shuffle this around
00:33:23 --> 00:33:25 but i was going to say that during the scene
00:33:25 --> 00:33:30 you driving Those are some serious, rough speed
00:33:30 --> 00:33:32 bumps that we hit the carriage. And I know that
00:33:32 --> 00:33:35 it's not on you. It's the rocks and it's the
00:33:35 --> 00:33:38 horse. And I understand that. I just... And then
00:33:38 --> 00:33:40 seconds later, you hit a second one. That was
00:33:40 --> 00:33:44 just so, like, wow, that we cracked up watching
00:33:44 --> 00:33:47 this together. The horse, like, does not turn
00:33:47 --> 00:33:51 on a dime. The wagon turns on a nickel. Uh -huh.
00:33:51 --> 00:33:55 But it's so much fun. And Mafia and... sleeping
00:33:55 --> 00:33:58 dogs, the driving mechanics are difficult, but
00:33:58 --> 00:34:00 they're kind of frustrating. In this game, they're
00:34:00 --> 00:34:04 difficult, but it's funny. So it makes up for
00:34:04 --> 00:34:09 it. Also, somehow they've managed to give so
00:34:09 --> 00:34:12 much atmosphere to this game, especially at nighttime.
00:34:13 --> 00:34:18 I don't know. The game feels just so good. I
00:34:18 --> 00:34:19 don't know how to describe it. Like when we pull
00:34:19 --> 00:34:22 up to the church where we find Seth. There's
00:34:22 --> 00:34:24 just something about this game that does atmosphere
00:34:24 --> 00:34:28 so well. The introduction, the first two parts,
00:34:28 --> 00:34:34 it's just at noon or sunset, you feel so much
00:34:34 --> 00:34:37 more engaged in the game because the environment
00:34:37 --> 00:34:41 really sets the tone and it sets the scene. There's
00:34:41 --> 00:34:43 just something about it. You don't mind just
00:34:43 --> 00:34:48 wasting five hours playing this game. Well, John
00:34:48 --> 00:34:51 finds Seth, who is indeed rather odd. And a grave
00:34:51 --> 00:34:54 robber, it appears. That's putting it lightly.
00:34:55 --> 00:34:58 He looks... Like, I'm not trying to stereotype
00:34:58 --> 00:35:02 what meth heads look like, but if I imagine I
00:35:02 --> 00:35:07 came across one that needed some mental assistance,
00:35:07 --> 00:35:13 he kind of fits the picture. Yeah. Also, he and
00:35:13 --> 00:35:17 the deputies, especially Jonah... Why do they
00:35:17 --> 00:35:20 kind of sound like VeggieTales characters? Oh,
00:35:20 --> 00:35:25 yeah. They truly do. Where's my hairbrush? Where
00:35:25 --> 00:35:28 is my hairbrush? Where is my hairbrush? Like,
00:35:28 --> 00:35:33 that's how the deputy talks. Anyway, so Seth
00:35:33 --> 00:35:36 is going on and on. He's kind of squirrely. And
00:35:36 --> 00:35:38 he's going on and on about his partner stealing
00:35:38 --> 00:35:40 half of his map. We don't know what he's talking
00:35:40 --> 00:35:44 about. John is like, what are you talking about?
00:35:46 --> 00:35:49 Seth goes, my partner, my boy, my man, Moses
00:35:49 --> 00:35:54 IV. I love the way that John talks. I never get
00:35:54 --> 00:35:57 over it. He just goes, and what map is that then?
00:35:57 --> 00:36:01 Like, he's just trying so hard with Seth. And
00:36:01 --> 00:36:06 it's not going well. Yeah. And Seth really likes
00:36:06 --> 00:36:11 to get into his personal space. Seth is... Seth
00:36:11 --> 00:36:17 is Seth. Yeah. Also, poor Josephine Bird. That's
00:36:17 --> 00:36:20 the woman whose grave that he's currently in.
00:36:21 --> 00:36:26 She didn't deserve this. It's a mix between now
00:36:26 --> 00:36:31 and a later scene, but what he does with the
00:36:31 --> 00:36:37 bodies, I just get so uncomfortable. I don't
00:36:37 --> 00:36:40 like what he's doing with them. Nobody does.
00:36:40 --> 00:36:42 Nobody should. Speaking of that, okay, well,
00:36:42 --> 00:36:45 real quick, John offers to help get his map back
00:36:45 --> 00:36:49 from Moses if he'll help him. And then they ride
00:36:49 --> 00:36:52 off together to go find Moses. And building off
00:36:52 --> 00:36:54 of what you just said, it's weird. Like, he's
00:36:54 --> 00:36:57 weird, and what he does is nasty. But how is
00:36:57 --> 00:37:03 some of what he says kind of decent? Hold on
00:37:03 --> 00:37:05 before you respond, because it sounds weird.
00:37:05 --> 00:37:07 But he's talking about, like, Being there for
00:37:07 --> 00:37:09 the dead. I talk to them long after everyone
00:37:09 --> 00:37:12 else has forgotten them. I tell them it's okay
00:37:12 --> 00:37:15 to be scared and all that kind of thing. I don't
00:37:15 --> 00:37:17 feel like I should feel like that's endearing,
00:37:17 --> 00:37:20 but it kind of is. In a really messed up kind
00:37:20 --> 00:37:24 of way. Okay, I have to disagree with you because
00:37:24 --> 00:37:27 he calls them sleeping beauties and then he says,
00:37:27 --> 00:37:30 I imagine myself doing all kinds of unpleasant
00:37:30 --> 00:37:33 things to his corpse. That's just Moses, though.
00:37:34 --> 00:37:38 Who wronged him. Yeah, well... Let me put it
00:37:38 --> 00:37:43 this way. It doesn't justify it, but it justifies
00:37:43 --> 00:37:46 it more than I thought was possible. Okay, I
00:37:46 --> 00:37:49 can see it. I wouldn't want my dead body around
00:37:49 --> 00:37:53 him. No. But I can see where he's going with
00:37:53 --> 00:37:57 it. And I can see how unpleasant it could be.
00:37:59 --> 00:38:05 Unpleasant for Moses. I don't know. We gotta
00:38:05 --> 00:38:09 move on. To give you some comfort, though, about
00:38:09 --> 00:38:12 my perspective on this, my next note is, Seth
00:38:12 --> 00:38:15 is a complete nutcake. Yeah. So don't worry.
00:38:16 --> 00:38:19 But it sounds like he has worked for Williamson
00:38:19 --> 00:38:22 and his gang, so now we know what his connection
00:38:22 --> 00:38:30 is and how he can help with John. I wrote a note
00:38:30 --> 00:38:32 and I don't know what it's in reference to, but
00:38:32 --> 00:38:35 it's, how the f*** is this guy alive? Oh, because
00:38:35 --> 00:38:37 he's like, I haven't showered in a month and
00:38:37 --> 00:38:41 all this stuff. Anything before we get to Moses?
00:38:42 --> 00:38:45 No. So they find Moses. They scare the location
00:38:45 --> 00:38:48 of the map out of him. And that's the end of
00:38:48 --> 00:38:52 the scene. Any other notes on scene four? No.
00:38:53 --> 00:38:56 Okay, then. Final scene of part one. Back at
00:38:56 --> 00:38:59 the sheriff's office, Marshal Johnson convinces
00:38:59 --> 00:39:01 John to help him deal with some bandits that
00:39:01 --> 00:39:04 are terrorizing the locals. And he at some point
00:39:04 --> 00:39:08 says, we got a fellow robbing graves, too. Hmm.
00:39:08 --> 00:39:12 Hmm. Wonder who that could be. Wonder if John
00:39:12 --> 00:39:16 knows anything about that. They chase bandits
00:39:16 --> 00:39:20 off of Ridgewood Farm. As they're tailing some
00:39:20 --> 00:39:23 of them, they run into Bill, and a fight breaks
00:39:23 --> 00:39:26 out. And after the fighting, they've captured
00:39:26 --> 00:39:29 Norman Deak. The marshal says he can help them
00:39:29 --> 00:39:33 get to Bill. So, running into Bill's gang, do
00:39:33 --> 00:39:36 you think that Bill is now starting to hunt John?
00:39:36 --> 00:39:40 Or was it just a coincidence that his gang was
00:39:40 --> 00:39:44 there just doing normal gang stuff? My thought
00:39:44 --> 00:39:48 is, yeah, he's doing normal gang stuff. But he
00:39:48 --> 00:39:51 definitely knows that John is after him. Although,
00:39:51 --> 00:39:53 did he know he was alive? I mean, they probably
00:39:53 --> 00:39:55 saw the body being dragged off by Bonnie. Yeah.
00:39:56 --> 00:39:59 Assuming they saw that and he knows John is alive,
00:39:59 --> 00:40:01 I would say... Yes, he's doing just gang stuff,
00:40:01 --> 00:40:04 but he's also probably doing it a little bit
00:40:04 --> 00:40:11 to spite John. So then we go back to Seth. John
00:40:11 --> 00:40:13 asks if he's ready to help. He says, not quite.
00:40:14 --> 00:40:18 Seth is now on to some Aiden O 'Leary guy who's,
00:40:18 --> 00:40:20 of course, dead. And whatever connection he has
00:40:20 --> 00:40:26 to Seth's treasure that he's after. This is maybe
00:40:26 --> 00:40:29 my favorite joke in the game. And I actually
00:40:29 --> 00:40:31 mean that. It's not like this is my favorite
00:40:31 --> 00:40:33 line where I say that about everything. He doesn't
00:40:33 --> 00:40:35 really like this guy, right? This Aiden O 'Leary
00:40:35 --> 00:40:39 guy. And he says, they say he laid with his sister.
00:40:39 --> 00:40:42 And then we see John's face. He's like, oh, that's
00:40:42 --> 00:40:45 messed up, right? But then Seth comes back with,
00:40:45 --> 00:40:51 I don't like women, partner. And so he's not
00:40:51 --> 00:40:53 offended that he slept with his sister. He's
00:40:53 --> 00:40:56 just offended that he slept with a woman. I mean,
00:40:57 --> 00:41:02 we also. Find out that Seth probably has mommy
00:41:02 --> 00:41:06 issues. It's either he has mommy issues or he
00:41:06 --> 00:41:11 has issues with women. Or maybe he's gay. I don't
00:41:11 --> 00:41:17 know. All of the above. And then, okay, so Seth
00:41:17 --> 00:41:19 has dug up some bodies and loaded them into a
00:41:19 --> 00:41:21 wagon. I don't know how he has the strength to
00:41:21 --> 00:41:25 do that, but good on him. They need to leave
00:41:25 --> 00:41:28 to take them to a secluded spot. So he can search
00:41:28 --> 00:41:30 the bodies because he says other people are after
00:41:30 --> 00:41:34 them. Is he searching the body for the map or
00:41:34 --> 00:41:37 is he searching the body to fulfill some kind
00:41:37 --> 00:41:41 of desire he has? I think it's both. I think
00:41:41 --> 00:41:43 he's searching for the map, which he does miraculously
00:41:43 --> 00:41:46 find. But he's enjoying it a bit too much, which
00:41:46 --> 00:41:48 we hear him say things like, who's got a kiss
00:41:48 --> 00:41:51 for Seth? And there's multiple times when John's
00:41:51 --> 00:41:53 like, are you talking to me? And he's like, no.
00:41:54 --> 00:41:57 I know. He's like, I heard you say something.
00:41:57 --> 00:42:01 And he's just talking lovingly to the dead bodies.
00:42:01 --> 00:42:05 Yeah. It's disgusting. But then when he's done
00:42:05 --> 00:42:07 searching one of them, he just tosses them out
00:42:07 --> 00:42:10 of the back of the wagon. And he even says, done
00:42:10 --> 00:42:14 with this one. Which is a contrast to him earlier
00:42:14 --> 00:42:17 saying that, like, I still remember these dead
00:42:17 --> 00:42:19 people and I still talk to them. And so I'm better
00:42:19 --> 00:42:22 than most people. And then he also is the same
00:42:22 --> 00:42:25 person who tosses the dead bodies out. Exactly.
00:42:26 --> 00:42:30 Unhinged, unbalanced, real nasty. How do your
00:42:30 --> 00:42:32 hands even get like that, man? You can never
00:42:32 --> 00:42:35 get all that dirt off. He probably enjoys licking
00:42:35 --> 00:42:41 his own fingers. Okay. So the map says that Seth
00:42:41 --> 00:42:43 will need to go to Tumbleweed, which is where
00:42:43 --> 00:42:45 they're heading anyway. So John drops him off
00:42:45 --> 00:42:50 there. And that's the end of the gameplay. I...
00:42:50 --> 00:42:54 don't know why... I feel like Seth's character
00:42:54 --> 00:42:58 adds a lot to the game, but it just made me so
00:42:58 --> 00:43:00 uncomfortable every time he was in the scene
00:43:00 --> 00:43:04 because he would lean so close into John's personal
00:43:04 --> 00:43:08 space or the equivalent to the camera where I
00:43:08 --> 00:43:10 feel like he's just leaning too close to the
00:43:10 --> 00:43:14 game and I'm just leaning back. Yeah. That was
00:43:14 --> 00:43:17 like me playing the impatient in VR. Yeah. I
00:43:17 --> 00:43:20 leaned back so far I hit my head on the wall.
00:43:22 --> 00:43:24 But yeah, he's so uncomfortable and you can just
00:43:24 --> 00:43:29 you can smell him through the screen. That was
00:43:29 --> 00:43:31 the end of part one. Any reactions to this game?
00:43:32 --> 00:43:34 I think this one is a bit more of your kind of
00:43:34 --> 00:43:37 like classic mainline game where there's some
00:43:37 --> 00:43:40 goofier stuff like this just for the enjoyment
00:43:40 --> 00:43:44 of the player. And it's not as much of a just
00:43:44 --> 00:43:48 full on dramatic gameplay. I like how it's still
00:43:48 --> 00:43:51 a bit lighthearted. I like John's character a
00:43:51 --> 00:43:55 lot. And we'll see. We'll see if I'll continue
00:43:55 --> 00:43:58 to like Bonnie or if they're going to just ruin
00:43:58 --> 00:44:00 her character. I'm excited to see how you like
00:44:00 --> 00:44:04 the rest of this game. And oh, also, just to
00:44:04 --> 00:44:06 mention for the people that know the game, there's
00:44:06 --> 00:44:08 Stranger Missions kind of like sub stories in
00:44:08 --> 00:44:12 Yakuza. I left all of them out except for one
00:44:12 --> 00:44:14 because it's very notorious. It's a big part
00:44:14 --> 00:44:18 of this game. So I left those in. I think there's
00:44:18 --> 00:44:21 maybe the first one in the next episode, so you'll
00:44:21 --> 00:44:22 know what I'm talking about soon, Kathy, but
00:44:22 --> 00:44:28 had to leave it in. Sounds good. With that, thank
00:44:28 --> 00:44:31 you for listening to our first episode of Season
00:44:31 --> 00:44:36 4. Hopefully we weren't too rusty. Episode 1
00:44:36 --> 00:44:40 of Season 4, done. Yes. Audacity on 1, 3, 2,
00:44:40 --> 00:44:43 1. Thank you for listening, and don't forget
00:44:43 --> 00:44:45 to send in any questions, comments, or game suggestions.
00:44:46 --> 00:44:48 You can find all our contact info on our website,
00:44:48 --> 00:44:51 replayreviewspod .com, or contact us directly
00:44:51 --> 00:44:53 through our site. Did we completely miss something?
00:44:53 --> 00:44:55 Are we way off the mark? Or you just want us
00:44:55 --> 00:44:57 to take a deeper look at anything from the game?
00:44:57 --> 00:45:00 We'll tackle any topics you all want to hear
00:45:00 --> 00:45:02 in our season wrap -up episode. We also have
00:45:02 --> 00:45:04 a Reddit where we discuss anything we're curious
00:45:04 --> 00:45:06 about. Go take a look and let us know what you're
00:45:06 --> 00:45:09 thinking. Our theme music is Condemned by Eggie
00:45:09 --> 00:45:11 Toast. They'll play you out, and we'll be back
00:45:11 --> 00:45:11 next week.