{"id":36289,"date":"2020-06-01T13:00:01","date_gmt":"2020-06-01T13:00:01","guid":{"rendered":"http:\/\/itteacheritfreelance.hk\/wordpress\/?guid=cc0838c5e918b081a5fe78e5cf78e6da"},"modified":"2020-06-01T13:00:01","modified_gmt":"2020-06-01T13:00:01","slug":"the-last-of-us-part-ii-interview-adding-depth-staying-grounded-and-the-cost-of-revenge","status":"publish","type":"post","link":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/2020\/06\/01\/the-last-of-us-part-ii-interview-adding-depth-staying-grounded-and-the-cost-of-revenge\/","title":{"rendered":"The Last Of Us Part II Interview \u2013 Adding Depth, Staying Grounded, And The Cost Of Revenge"},"content":{"rendered":"<p class=\"syndicated-attribution\"><meta name= \\\"keywords \\\" content= \\\"\u96fb\u5b50\u8a08\u7b97\u6a5f, \u6559\u80b2, IT \u96fb\u8166\u73ed,\u96fb\u8166\u88dc\u7fd2\uff0c \u96fb\u8166\u73ed\uff0c \u5bb6\u6559\uff0c \u79c1\u4eba\u8001\u5e2b\uff0c \u8cc7\u8a0a\u6280\u8853\uff0c \u7a0b\u5e8f\u8a2d\u8a08\uff0c \u96fb\u5b50\u8a08\u7b97\u6a5f\uff0c \u904a\u6232\uff0c \u860b\u679c\uff0c \u96fb\u5f71\uff0c \u8a08\u7b97\u6a5f\uff0c\u7de8\u78bc\uff0c Java\uff0c C\/C++\uff0c JavaScript\uff0c PHP\uff0c HTML\uff0c CSS\uff0c MySQL\uff0c mobile\uff0c Android\uff0c \u52d5\u6f2b\uff0c Python\uff0c teacher\uff0c \u88dc\u7fd2\uff0c \u96fb\u8166\u88dc\u7fd2 \u8cc7\u8a0a, \u7535\u5b50\u8ba1\u7b97\u673a, IT ,Game, apple, movie, Computer,student,Java,\u6559\u80b2, ,\u5b66\u751f, \u5b66\u4e60, learn, \u6559\u5b66,  Android, apple,anime, animation, \u4fe1\u606f\u6280\u672f, \u7a0b\u5e8f\u8bbe\u8ba1, \u79fb\u52a8\u7535\u8bdd, \u8cc7\u8a0a\u79d1\u6280,Game, Jeu, Juego,Call Of Duty ,\u4f7f\u547d\u53ec\u559a , \u6e38\u620f, \u7535\u5b50\u6e38\u620f,, \u591a\u4eba\u7535\u5b50\u6e38\u620f, \u7f51\u7edc\u6e38\u620f\uff0conline\uff0conline game, \u624b\u673a\u6e38\u620f, mobile \\\"><\/p>\n<p>  <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/body_default\/s3\/2020\/05\/30\/0272a18a\/tlou2interview61header.jpg\" width=\"800\" height=\"368\" alt=\"\" typeof=\"Image\" class=\"image-style-body-default\" \/><\/p>\n<div class=\"game-details\">\n<div class=\"game-details-publisher\">\n\t\t\t<b>Publisher:<\/b> Sony Interactive Entertainment\n\t\t<\/div>\n<div class=\"game-details-developer\">\n\t\t\t<b>Developer:<\/b> Naughty Dog\n\t\t<\/div>\n<div class=\"game-details-release\">\n\t\t\t\t<b>Release:<\/b><br \/>\n\t\t\t\t\t\t\t\t\t\t<time datetime=\"00Z\" class=\"datetime\">June 19, 2020<\/time><\/div>\n<div class=\"game-details-platform\">\n\t\t\t<b>Platform:<\/b> PlayStation 4\n\t\t<\/div>\n<\/p><\/div>\n<\/p>\n<p>The Last of Us Part II is set in a post-apocalyptic world in which a mutated fungus has turned most of humanity into creatures called Infected. That premise may sound like familiar zombie fiction, but anyone who played the original can tell you that developer Naughty Dog has elevated the world of The Last of Us beyond easy genre classification. The story of Joel and Ellie was emotionally complex and raised ethical questions with no easy answers\u00a0, and that doesn&#8217;t appear to be changing for The Last of Us Part II. In advance of the sequel&#8217;s impending June 19 release, we talked to creative director Neil Druckmann about how Ellie is evolving, being\u00a0grounded versus realistic, and creating a believable world for players to explore.\u00a0<\/p>\n<\/p>\n<p><a  href=\"https:\/\/www.gameinformer.com\/preview\/2020\/06\/01\/the-last-of-us-part-ii-interview-adding-depth-staying-grounded-and-the-cost-of\">Click here to watch embedded media<\/a><\/p>\n<p><b>GI: One of the earliest details about the story you revealed was that Ellie is on a quest for revenge. What do you see as the most fertile ground to explore within the themes of a revenge story? <\/b><\/p>\n<p>Druckmann: When we started work on the game, there was an excitement to make Ellie the protagonist and to explore her character further \u2013 in the same way that I\u2019m sure the people who worked on <i>Breaking Bad<\/i> were excited to explore Walter White for many years. We started with this girl who was so innocent in the first game, and we know this world is one that makes you make choices. As a survivor, you lose some of that innocence, shed it, evolve, and change. To take that further was exciting.<\/p>\n<p>We played with ideas that were interesting from a plot standpoint, but never quite captured that emotional pull that we thought made that first game special. So then it was like, \u201cDo we want to go back to this world if we don\u2019t have that emotional pull?\u201d We were starting to really debate that until we landed on this idea that felt like, \u201cOh my god, that\u2019s almost like a mirror image. A mirror theme of what we had in the first game.\u201d The first game was so much about love \u2013 can we, through the experience of a video game, get you to start with these two character who don\u2019t quite like each other, and by the end of it, you get to feel the unconditional love that a parent feels for their child? And you understand how far that love can go, both in its beautiful aspects, and its very dark and almost insane aspects. So you understand why Joel does what he does.<\/p>\n<p>In [The Last of Us Part II], it\u2019s almost a similar question. How far would you go for love? Except the setup now is that the person you love has been hurt badly, and how far are you willing to go to bring the people responsible to justice? The motivation is still love. And when you look around the world, it\u2019s stuck in this cycle of violence because the people they care about got hurt. And what do they do to the other side? How do they dehumanize then? How do they attack them? That all felt like fertile ground that raises the interesting philosophical questions that we had with the first game. It was like, \u201cThere\u2019s the core. That\u2019s the thing we\u2019ve been missing. Now we can hang the whole story around this core idea.\u201d<\/p>\n<p><b>Revenge stories usually follow a formula \u2013 an inciting event, followed by going down the checklist of people along the way, and then a final confrontation. Do you think the established formula makes it harder or easier to surprise players?<\/b><\/p>\n<p>You\u2019re kind of describing genre, and almost every genre has already been told. Every kind of story has been told. When people say, \u201cI\u2019m telling a genre story,\u201d that genre has been told a lot. There are certain tropes to it, and I think as a writer, it\u2019s important to have an author\u2019s knowledge of that genre \u2013 of all the different things that can exist in that genre. Sometimes, a revenge story can be a power fantasy, and you see the people who wrong the protagonist at the beginning of the game or movie or book, and it\u2019s about the thrill of bringing those people to justice. The certain satisfaction, the cathartic release that happens.<\/p>\n<p>And then there are ones \u2013 with maybe a more nuanced approach \u2013 that say, \u201cThere\u2019s a cost to this. When you go and hurt someone else, even if you\u2019re in the right, it takes something away from you.\u201d There\u2019s a primitive part of our brain that wants to tip into that, but whether through society or evolution, we suppress it so we can live normal lives. I think if you give into that, sometimes it changes you irreparably \u2026 and then to make a character-driven experience where every mechanic that we\u2019re building puts you the shoes of Ellie and you feel the evolution of that character as she becomes more lethal, but also as she\u2019s losing more of her innocence, it begins to affect not only her, but the people around her.<\/p>\n<\/p>\n<p><a  href=\"https:\/\/www.gameinformer.com\/preview\/2020\/06\/01\/the-last-of-us-part-ii-interview-adding-depth-staying-grounded-and-the-cost-of\">Click here to watch embedded media<\/a><\/p>\n<p><b>From a storytelling perspective, how often do you struggle with what needs to happen in service to the story, versus what you want to happen? Like, do you ever just want to give Ellie or Joel a break? <\/b><\/p>\n<p>I think that wouldn\u2019t be The Last of Us if people just got a break. That\u2019s not what the story really explores. It explores the beauty of relationships, and the horror of relationships. It deals with the bonds that get formed, and relationships that fall apart, whether that\u2019s through injury, death, or people just growing apart. Those are kind of what\u2019s ripe for exploration with The Last of Us. But how do you explore all those facets and philosophical questions? I think what made the first game successful was that it presents ideas, and the characters have strong feelings about those ideas \u2013 or dilemmas \u2013\u00a0but the story doesn\u2019t. The story doesn\u2019t judge; it doesn\u2019t say Joel was right or wrong. \u00a0Joel feels righteous. I\u2019m sure the Fireflies feel like he wasn\u2019t.<\/p>\n<p>Likewise in this game, Ellie feels righteous, but I\u2019m sure the people she\u2019s doing this stuff to don\u2019t agree. So much of the story is about empathy and trauma. And sometimes feelings that are unique to video games, like guilt and shame \u2013 can we make you experience those things through the actions you are taking part in? You are complicit in what\u2019s going on in the story when you\u2019re taking part in it. And that became exciting, like, \u201cHow far can we push those ideas?\u201d Can we push the wall of the kind of story we tell at Naughty Dog, but even as an industry? If we can pull it off, it will feel like something I have never experienced in a story, and especially in a video game. It could be something really special.<\/p>\n<p><b>You\u2019re telling a story, but you\u2019re also making a game that people play. That means players might see a disturbing and brutal cinematic one minute, and the next they\u2019re scrolling through skill trees spending medical supplements to buy skills. How do you approach that tension between game elements and story elements?<\/b><\/p>\n<p>That\u2019s where it\u2019s important early on to establish: What is the vision for this thing? We knew we wanted to put you in the shoes of Ellie and take you on this really long journey where each death has weight and consequence \u2026 Exploration has meaning to it \u2026 And then one of the things with The Last of Us more than other games we\u2019ve done is that it needs to be grounded \u2013 despite there being Infected and the state of the world. How can we make you feel like a character is like someone you know? That doesn\u2019t always mean realism, one-to-one. Like, you\u2019re describing mechanics that don\u2019t exist in the real world \u2013 crafting things, leveling up and improving attributes. But what those systems do is they make you feel the growth of Ellie as a capable killer, which speaks to the story. Sometimes you\u2019ll give up realism for the sake of getting a certain feeling. Something I\u2019ve discussed in the past is: With Ellie\u2019s size, it\u2019s not realistic that she could take on as many people as she does. We want every encounter to feel engaging, and make the enemies feel smart \u2013 but the reason we have the numbers we do is because it creates a certain feeling of survival and tension. If we were to lower the numbers, you wouldn\u2019t get the same feeling. So we\u2019re sacrificing some realism for authenticity of feeling.<\/p>\n<p>So, once you define those constraints \u2013 I have the privilege of working with some of the most talented people in the industry, and they are constantly coming up with great ideas. Often, we have more ideas than we can fit in a game; you have five people coming up with five ideas that are all great on their own. Sometimes you might not go with the greatest idea \u2013\u00a0you need to go with the idea that\u2019s most appropriate for the game. So once the vision is well-defined, people can go off on their own and come with ideas they think is appropriate for the game. And that\u2019s kind of the beauty of video games \u2013\u00a0it\u2019s such a collaborative medium, it becomes greater than any one person\u2019s contribution. And we\u2019re all working with the same goal of achieving a particular feeling.<\/p>\n<p><i>Click image thumbnails to view larger version<\/i><\/p>\n<p><a  href=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/body_default\/s3\/2020\/05\/27\/3e3b8b62\/125eb30bf8f28792.72343557-tloupii_narrative_still_05.jpg\"><img decoding=\"async\" align=\"left\" height=\"100\" border=\"3\" src=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/entity_browser_thumbnail\/s3\/2020\/05\/27\/3e3b8b62\/125eb30bf8f28792.72343557-tloupii_narrative_still_05.jpg\" \/><\/a> <a  href=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/body_default\/s3\/2020\/05\/30\/1758ad57\/tloupii_preview_screenshot_02.jpg\"><img decoding=\"async\" align=\"left\" height=\"100\" border=\"3\" src=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/entity_browser_thumbnail\/s3\/2020\/05\/30\/1758ad57\/tloupii_preview_screenshot_02.jpg\" \/><\/a> <a  href=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/body_default\/s3\/2020\/05\/30\/b9ea5a0a\/tloupii_preview_screenshot_03.jpg\"><img decoding=\"async\" align=\"left\" height=\"100\" border=\"3\" src=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/entity_browser_thumbnail\/s3\/2020\/05\/30\/b9ea5a0a\/tloupii_preview_screenshot_03.jpg\" \/><\/a> <a  href=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/body_default\/s3\/2019\/10\/11\/cafeb47b\/lastofuspartii.jpg\"><img decoding=\"async\" align=\"left\" height=\"100\" border=\"3\" src=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/entity_browser_thumbnail\/s3\/2019\/10\/11\/cafeb47b\/lastofuspartii.jpg\" \/><\/a> <a  href=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/body_default\/s3\/2019\/09\/25\/f2852fd5\/tloupii_demo_screen_11.jpg\"><img decoding=\"async\" align=\"left\" height=\"100\" border=\"3\" src=\"https:\/\/s3.amazonaws.com\/prod-media.gameinformer.com\/styles\/entity_browser_thumbnail\/s3\/2019\/09\/25\/f2852fd5\/tloupii_demo_screen_11.jpg\" \/><\/a> <\/p>\n<p>\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n<p><b>The places players explore, like shops and restaurants, are incredibly detailed and unique. Can you walk me through the process of creating an area?<\/b><\/p>\n<p>We first come up with the structure of the game, the core story idea. And then we start putting notecards up on the wall representing each section or level \u2013 whatever term you want to use. Then we break down what is happening narratively in the scene. How is the character changing? Every part needs to evolve and take us toward the end \u2013 no part should just exist because it\u2019s cool. We want cool ideas! But they have to work toward what we\u2019re trying to move forward. If they\u2019re just cool for the sake of being cool, that\u2019s the first card that gets tossed.<\/p>\n<p>For example, when you first reach Seattle, we want Ellie to feel a little frustrated, a little lost. We do that by \u2013 based on stuff we did with Uncharted 4 and Lost Legacy that let us play with a much bigger level size than we have in the past \u2013 we create a really large space. We put you in downtown Seattle. You don\u2019t know where to go. The character doesn\u2019t know where to go. We want you to feel lost and start moving around. Again, authenticity is what\u2019s going to help immerse you. If you\u2019re moving through a space that doesn\u2019t look good, that doesn\u2019t look believable, it\u2019s going to pull you out of the experience.<\/p>\n<p>The art team traveled many times to Seattle to study architecture, the materials, the vegetation that grows in that part of the country. That kind of detail is going to immerse you in the world. Likewise, our tech team has to find a way to optimize it on the PS4, because again, if the level of detail drops because the area is big, that takes you out of the experience. Everything is in service to put in you that place, evoke a certain emotion, and put you on a journey with Ellie.<\/p>\n<p><b>You\u2019ve previously mentioned the Last of Us Part II broadening its narrative focus beyond Joel and Ellie. When you look at The Last of Us\u00a0as a property or franchise, how much do you see it as the focused story of particular characters, and how much is about the world they inhabit?<\/b><\/p>\n<p>Yes. [Laughs] Meaning, when we finish a game, our process is to look at every idea on the table. It might be an idea for a sequel [to that game]. It might be an idea for a sequel to an old franchise we haven\u2019t touched in a while. It might be ideas for new IP. Everything gets explored, and we exhaust all of the ideas, because you\u2019re going to go on this journey for many, many years. You want to make sure you pick something you\u2019re really excited by, because four years into it, you\u2019d better be as excited as you were at the beginning. Otherwise, if it\u2019s something you\u2019re ho-hum about, players are going to feel that. They\u2019re going to feel your lack of excitement.<\/p>\n<p>So, for The Last of Us Part II, it was exciting to come back to Ellie and explore more facets, more dimension to this character. Other ideas that didn\u2019t have Ellie and Joel became less interesting \u2013 building characters from scratch or going to another part of the world. We talked about them. They just weren\u2019t as exciting \u2026 But there were a lot of questions early on, like, \u201cWhat is The Last of Us? Is it Joel and Ellie? Is it a particular set of themes?\u201d<\/p>\n<p>We knew we wanted to continue the journey of Joel and Ellie pretty early on, and then you need themes with an emotional core to ask philosophical questions \u2013 that became another pillar. The other thing we said was that we want to explore factions and how different people survive. Now we\u2019re 25 years after the outbreak \u2013\u00a0what are they doing to form societies? And how do those societies speak to the high-level theme? Here we\u2019re dealing with a cycle of violence, which is why we\u2019ve crafted the WLF and Seraphites \u2013 groups that are locked in this everlasting conflict trying to reclaim Seattle \u2026 Everything has to speak to these high-level themes. And there\u2019s just the Naughty Dog value: We want to challenge ourselves. We want to tell stories that we\u2019ve never told before. We want to push the boundaries of the technology. We want to figure out pipelines of how to build games more efficiently. And \u2013 this shouldn\u2019t be controversial, but it is \u2013 we want to have a diverse cast of characters that reflects the world we live in and helps us tell more unique, interesting stories. Those are things we value that come back into the game as well.<\/p>\n<\/p>\n<p><a  href=\"https:\/\/www.gameinformer.com\/preview\/2020\/06\/01\/the-last-of-us-part-ii-interview-adding-depth-staying-grounded-and-the-cost-of\">Click here to watch embedded media<\/a><\/p>\n<p><b>The original Last of Us enjoyed pretty widespread acclaim, but it wasn\u2019t without criticism. Was there a particular piece of feedback from the first game you wanted to be sure to address for the sequel? <\/b><\/p>\n<p>Pallets and ladders. We knew even when we were working on the [first] game that we wanted a wider breadth of mechanics, and we wanted those mechanics to go deeper. That\u2019s one of the challenges we set for ourselves for this game. The challenge there is that The Last of Us isn\u2019t a sci-fi world where you can have a gravity gun or grappling hook or something that is easily marketable, like, \u201cHere is the brand-new feature.\u201d So it\u2019s really the sum of the parts.<\/p>\n<p>Going prone might seem simple on paper, but with the fidelity we have, how intricate the layouts and art are, and with all the mechanics Ellie can do while prone, it\u2019s a hugely complicated system to look as good as it does and be as effective as it is. Likewise, adding grass that looks good, as well as the effect it has \u2013 you\u2019re also not completely hidden, so it\u2019s the idea of analogue stealth \u2013 \u00a0creates a level of tension that would be different if it was black or white, hidden or not. Which again, is a complicated system. Redoing our A.I. where they have vision and hearing. Every person has a name, every person has a heartbeat that is being tracked, which affects their audio cues \u2013 they might breathe harder or shout more. They have an emotional state that can change if you kill their friend next to them. Again, it\u2019s a lot of small \u2013 \u201csmall\u201d \u2013 things that, when you play it, hopefully you\u2019re feeling much greater tension. Because Ellie can jump, climb, and we have better physics, the puzzles become more interesting. The exploration becomes more interesting. All of that, again, is done in service to putting you in the world, giving you more variety, and giving you more depth of mechanics.<\/p>\n<p><b>You mentioned marketable features. Let\u2019s say we lived in a world where it wasn\u2019t necessary to have things like trailers and gameplay demos prior to release. Would you prefer to just set a date and launch the game, or is it fun to build the mystery?<\/b><\/p>\n<p>I\u2019m trying to imagine a reality where you don\u2019t have to market your game. [Laughs] I think I have a pretty good imagination, but that\u2019s a really hard one. I think there\u2019s something that is exciting, especially when you work on something for so long and you have to be secretive, about moments where you\u2019re like, \u201cOkay, we\u2019re going to show some of the game.\u201d There\u2019s something different about internal deadlines and external ones. External deadlines, you know the public is going to see it, and this pressure starts building. All of sudden, you\u2019re making all these calls; you might have been doing all this exploration, and it helps you just lock some of the game down.<\/p>\n<p>When people react positively, with conversations and excitement around it, you can just feel that energy on the team. You walk around and you can feel it from people, \u201cWe\u2019re doing the right thing. This thing that has been super-challenging that we might have had doubts about, it feels like it\u2019s clicking and starting to work.\u201d Those are things that would be hard\u00a0to give up.<\/p>\n<p>But there\u2019s something nice about trying to preserve the experience. That\u2019s the push and pull: Trying to reveal as much possible without spoiling the final experience. But at the end of the day, nothing can spoil actually getting your hands on the controller, playing as Ellie, hearing the dialogue, seeing how the mechanics are adding to the tension of the world, and experiencing those beats.<\/p>\n<p><em>For more on The Last of Us Part II, read <a href=\"https:\/\/www.gameinformer.com\/preview\/2020\/06\/01\/15-things-i-learned-from-two-hours-playing-the-last-of-us-part-ii\">our\u00a0impressions<\/a> from\u00a0two hours of hands-on time with the final version of the game.<\/em><\/p>\n\n<p class=\"syndicated-attribution\"><figure class= \\\"wp-block-image alignnone \\\"><img src= \\\"http:\/\/itteacheritfreelance.hk\/test\/wordpress\/wp-content\/uploads\/2016\/05\/logo2-2.png\\\" alt=\\\"IT\u96fb\u8166\u88dc\u7fd2 java\u88dc\u7fd2 \u70ba\u5927\u5bb6\u914d\u5c0d\u96fb\u8166\u88dc\u7fd2,IT freelance, \u79c1\u4eba\u8001\u5e2b, PHP\u88dc\u7fd2,CSS\u88dc\u7fd2,XML,Java\u88dc\u7fd2,MySQL\u88dc\u7fd2,graphic design\u88dc\u7fd2,\u4e2d\u5c0f\u5b78ICT\u88dc\u7fd2,\u4e00\u5c0d\u4e00\u79c1\u4eba\u88dc\u7fd2\u548cFreelance\u81ea\u7531\u5de5\u4f5c\u914d\u5c0d\u3002\\\"\/><figcaption>\u7acb\u523b\u8a3b\u518a\u53ca\u5831\u540d\u96fb\u8166\u88dc\u7fd2\u8ab2\u7a0b\u5427!<\/figcaption><\/figure>\r\n<\/br>Find A Teacher Form:\r\n<\/br>https:\/\/docs.google.com\/forms\/d\/1vREBnX5n262umf4wU5U2pyTwvk9O-JrAgblA-wH9GFQ\/viewform?edit_requested=true#responses\r\n<\/br><\/br>Email:\r\n<\/br>public1989two@gmail.com<br><br><br><br><br><br><br>\r\n<a href=www.itsec.hk style=color:#FFFFFF;>www.itsec.hk<\/a><br>\r\n<a href=\\\"www.itsec.vip\\\" style=color:#FFFFFF;>www.itsec.vip<\/a><br>\r\n<a href=\\\"www.itseceu.uk\\\" style=color:#FFFFFF;>www.itseceu.uk<\/a><br><\/p>","protected":false},"excerpt":{"rendered":"<div class=\"mh-excerpt\"><p>\t\t&#8230;<\/p>\n<\/div>","protected":false},"author":44,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"slim_seo":{"title":"The Last Of Us Part II Interview \u2013 Adding Depth, Staying Grounded, And The Cost Of Revenge - ITTeacherITFreelance.hk","description":"..."},"footnotes":""},"categories":[18],"tags":[],"_links":{"self":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/36289"}],"collection":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/users\/44"}],"replies":[{"embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/comments?post=36289"}],"version-history":[{"count":2,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/36289\/revisions"}],"predecessor-version":[{"id":37194,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/posts\/36289\/revisions\/37194"}],"wp:attachment":[{"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/media?parent=36289"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/categories?post=36289"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/itteacheritfreelance.hk\/wordpress\/index.php\/wp-json\/wp\/v2\/tags?post=36289"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}