[S1E1] Going Up

[S1E1] Going Up

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Lucille, hearing the labor happening down the hall: Well, as you can imagine, I need to get going. But Phyllis asked me to drop these off.Miss Timid, who I clearly have misnamed: Well thanks, but you should have been more discreet. Bye.

After the feast, Ned and Catelyn recline in bed trying to decide what to do. Neither want Ned to go south to the Wretched Hive they call a capitol, King's Landing, but the problem with kings is that it's difficult to turn them down gracefully. The situation is worsened by the arrival of a letter from Lady Lysa Arryn, Catelyn's sister and Jon Arryn's widow. This letter claims that Jon was murdered by the Lannisters, and suggests they plan to move next against Robert. Ned must now decide whether to abandon his best friend to almost-certain death or join him in it. Considering that Ned is a living embodiment of Honor Before Reason, you can guess which he's going to pick.

Finally, we're back at Winterfell, where Tyrion banters with Sandor Clegane, called The Hound, and Robert leads a royal hunting party out of the castle. Bran, who is going south to King's Landing with his father, takes this opportunity for one last climb on the walls of Winterfell. He comes across a blonde man and a blonde woman, naked and alone, doing what naked men and women have done together whilst naked and alone since the time of the First Men. One is the queen, Cersei Lannister. The other is not Robert, which is bad enough. Even worse: it's Jaime.

Of course, this is only going to get worse over time, but this show does a brilliant job capturing the chaotic feeling of this and adding it into a captivating drama. The episodes ahead certainly look promising, especially if we see more of the conflicting way Adam has to juggle his personal and professional life.

She is quoting the poem in a literal sense, as one who loves the stars that do not share that love in return. She believes that she is going to her death, anticipating that she will see their dead son, Michael. Although she is about to be killed by the stars who do not give a damn, she loves them anyway.

This time when class ends and you talk to the teacher, he will bring up John Lennon. After the conversation, talk to him again and bring up Lennon yourself to make your teacher happy, and you will be able to leave class. Run to the bathroom and the events from before will play out again. This time you are going to try and stop it, but there is a time limit. Quickly, look at the maintenance cart, and you can move it. Once you do, you can bend down and grab a hammer. Use this to smash the fire alarm and set it off to save the girl. If you take to long the girl will be shot, but if this happens, just rewind time and keep trying until you do it all fast enough.

Speak to her, and she won't pay you much attention cause she thinks you don't even know her. Tell her that her last name is Watson and she will open up about what is going on. Head back down the hall and enter Victoria's room. When you enter, turn right and you will see a collage of pictures. Rearrange them, then take a picture, as this is yet another Optional Photo. You can check various objects in this room, to proceed though you must go on her computer and check her emails, then print off the one that relates to the issue at hand. Bring it back to the girl to have her calm down and let you in the room.

Head back upstairs and you and Chloe will begin talking, and eventually it will lead to loud music and dancing, which becomes problematic when her father gets home. Chloe will insist you hide, so if you want to, head to her closet. Before going inside, make sure you move the lamp, or else it will cause everything to fall out. Once the lamp is moved, you can safely enter the closet and hide as her father comes in the room.

Regardless of your choice, you will eventually end up going for a drive with Chloe. Your destination happens to be the same spot from the beginning of the game, minus the massive storm. Instead of walking forward though, head back down the path. There is a large rock on the right with a bird atop it. This is another Optional Photo. Once you have it, you can head up the mountain. There are a few objects along the way you can interact with. Once at the top, stand behind the bench Chloe is on, and you can take another photo. This is the last of the Optional Photos for this episode.

Good morning, Sam! Looks like *somebody* needs some morphine delivered, and you're the only man that can do it. Well, pick up that little suitcase, throw it on your back (hit Triangle), and let's get going.

You'll be running back out the way you came in when you delivered the morphine, only this time you're going to run right past the distribution centre you were at, veer right, and get into the wild, beautiful, and utterly ruined world.

Robert Kirkman claimed that he had considered the idea of a television series, but never actively pursued it.[1] When Frank Darabont became interested, Kirkman called it "extremely flattering" and went on to say that "he definitely cares about the original source material, and you can tell that in the way he's adapting it." In his interview, Kirkman exclaimed that it was "an extreme validation of the work", and continued by expressing that "never in a million years could [he] have thought that if Walking Dead were to ever be adapted that everything would be going this well."[1]

Being that I've always had 'the love of zombies gene', I of course grabbed it, took it home and read it, and immediately started pursuing the rights to it. I thought it would make a great TV show. I loved the idea of an extended, ongoing, serialized dramatic presentation set in the zombie apocalypse.

Hurd recalled that she had heard of the comic before, and upon reading it, felt that it would be great for film.[3] She stated: "When I first read the book, I thought, 'This would be a great film,' and boy was I wrong. It's a much better TV series. Fast forward, I knew that Frank had initially developed it for NBC, which to me seemed like an odd pairing for this. Then I heard it wasn't going forward at NBC so I talked to Frank."[3] On January 20, 2010, AMC officially announced that it had ordered a pilot with Darabont and Hurd acting as executive producers; the former wrote the script and directed the episode.[4] The entire series was pre-ordered based on the strength of the source material, the television scripts, and Darabont's involvement.[5]

Frank Darabont wrote a 60-page pilot script for "Days Gone Bye".[6] His initial script for the episode was split in half and embellished. Darabont explained that he did this to "slow the narrative down and dig into the characters more deeply, so it's not just plot-driven, event-driven stuff. You really want to drag these characters into the equation."[2] Darabont felt that instituting visual maneuvers would increase the surreal atmosphere of a scene.[6] Upon reading the script, Robert Kirkman thought that producers were consistent with his comic, adding that they could possibly improve his initial work. "Reading that pilot was just a revelation. It's extremely faithful. There are things that are so much like the comic, I can't really remember the nuance of what's different and what's not from the comic. He's definitely being more faithful than I expected, and everything that he's changing is brilliant. I couldn't be happier. I think the fans of the book are going to just love it."[3] The episode shares its name with volume one of the comic book series.[7]

Bernthal was extremely comfortable with his character on set. "The second he opened his mouth and started reading the scene, I knew it was him," he said.[clarification needed] "There was no question. I saw Frank and I knew it. He's the guy. He's a wonderful actor, and he's going to kill it in this role."[10] Bernthal admitted that he had no prior knowledge of The Walking Dead. He reminisced that he reacted so "organically" to the script that he "didn't want to be colored by anything else. When I did read the comic, I was shocked. Look, I'm not going to sit here and regret. One of the great things about doing TV versus film is to be surprised yourself, to not let where you're going color where you are."[10] The pilot episode's script was amongst several other scripts for proposed television pilots that Bernthal skimmed through; He felt that this script overshadowed the others. "[It was] pilot season, and I read everything that was out there. I still remember the day that I got this script. I told my agent that I'd be thrilled to be an extra in this, it's so good. It just blew the rest of them right out of the water."[10]

The show's website released a motion comic based on the first issue of the original comic and voiced by Phil LaMarr.[40] The site also posted a making-of documentary, and other behind-the-scenes videos and interviews. In the documentary, Kirkman as well as artist Charlie Adlard expressed pleasure that the show is faithful to the comic and remark on the similarities between the actors and the comic's original character drawings.[41] Several scenes were screened July 23, 2010 as part of the San Diego Comic-Con in 2010.[42] Hurd asserted that "[they] really are doing six one-hour movies",[43] and Frank Darabont insisted that the series would closely reflect the development in the comics. "The path is a very strong template. But we're going to take every interesting detour we feel like taking. As long as were staying on the path of what Robert has done, I don't see any reason not to. If they have patience we'll eventually catch up to what Robert is doing."[43]

However, there's also the frequent suggestion that some sort of superbug is running rampant in other states. The implication is clear. Nobody is going to figure out just where this zombie pandemic came from in the time they have before civilization falls.

When Jacob and John Dutton (James Badge Dale) arrive home, they inform Jack that they're going to have to work on the day of his supposed wedding. He seems fine with it, but they warn him about how he tells his bride-to-be the bad news. 59ce067264

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