John Sweeney - Art Director at Naughty Dog

The Last of Us Part 2 Teaser Trailer Key Frames 2

Some more key frames exploring how the teaser trailer could open. The mirror in the room created some interesting framing opportunities due to the fact the room itself was rather cramped. i was able to get some dynamic shots, while also playing with the concept of "framing within the frame" creating a visual that would get tighter on Ellie the wider the camera pulled out to view the room, revealing the bloody aftermath of her altercation. Neil liked it, and wanted to play with the idea of seeing her actually kill the WLF soldier in the reflection, but ultimately we steered away and felt it was more interesting to save that reveal for the end.

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John Sweeney - Art Director at Naughty Dog

The Last of Us Part 2 Teaser Trailer Key Frames 3

These were some explorations of possible close ups that we could cut to in between the shots of Joel walking in and down the hallway as Ellie played the guitar. My personal favorite that i wish had gotten in there was the close up shot of her shoes squeaking a little bit in the blood as her feet would shuffle. These all would have been slow reveals of the dead body in the room as we build anticipation.

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John Sweeney - Art Director at Naughty Dog

The Last of Us Part 2 Teaser Trailer Key Frames 4

Some Exposure and DOF exploration for the shot of when Joel enters the house.

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John Sweeney - Art Director at Naughty Dog

The Last of Us Part 2 Teaser Trailer Key Frames 5

Framing the death in the teaser trailer was fun to explore. Early on my thinking was to always keep the camera low to the ground so you&amp;#39;re forced to feel like you&amp;#39;re literally viewing the aftermath as they would have. we moved closer towards some frame exploration that was done by Richard Lyons where the camera was more waist height tracking Joel which made for an easy transition to the final frame as he settles in the door frame

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John Sweeney - Art Director at Naughty Dog

The Last of Us Part 2 "PTSD" Sequence Pitch (*Mature Content*)

Early on in the stages of the narrative getting figured out, there was always going to be the "home" section of the game. I instantly wanted to inject some aspect of Andrew Wyeth into this portion. This sequence was exploring an idea of Ellie coming home, hearing crows from a distance as she nears the house. Upon entering she would make her way upstairs to find a dead and mutilated Joel. This sequence evolved many times over throughout production, but I enjoyed getting to take an early stab at showing how something like this could play out in our universe while not being too over the top or hallucinatory.

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John Sweeney - Art Director at Naughty Dog

The Last of Us Part 2 Teaser Trailer Set Design and Model Reference

Building out our sets this time around had to start with everything considered. In order to pull off the look of the game, we needed to limit our palettes, and hone in on a few really important material properties that would help sell the feeling of the world. I'll also be posting more "BTS" images that highlight how we were able to emulate so many aspects of film.

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John Sweeney - Art Director at Naughty Dog

4th Street and Yesler Way

Early on this space in game had even more pathways that you could explore. One of those areas was 4th street, below the Yesler Way overpass. I wanted to explore a street that would have been destroyed and sunken in either by a gas main explosion, or a sinkhole that would have decayed over time.

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Terrace Street

Some lighting explorations done for the Bridge section of the E3 gameplay reveal.

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John Sweeney - Art Director at Naughty Dog

City Hall Park

Early Blue Sky concept for the Seraphites burning a pile of dead bodies in Seattle's City Hall Park.

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Yesler Way

Detail concept for what a corpse pit could look like and be lit.

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John Sweeney - Art Director at Naughty Dog

The Offering

Early concept of a Seraphite sacrificing a dead WLF soldier.

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Peekaboo

Early Blue Sky concept for what aiming out from underneath a truck in game could look and feel like. I spent a year or two crawling under any truck i could find in my reference trips around the world. I wanted to capture the feeling of claustrophobia, and vulnerability that you feel when in this position. The anticipation of not seeing the face of your attacker until the last minute was something else i wanted to try and portray here as well.

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The Woods

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John Sweeney - Art Director at Naughty Dog

Steel Fields

This is an early Blue Sky image that was an attempt to illustrate a more extreme type of environment we could traverse. in October of 2001 I visited the aftermath of the World Trade Center, about a month or so after the attack. I was 12 at the time, so walking 20 blocks to get to ground zero of the site was a slow way of easing into what we would then see. That experience has been a huge defining moment in my life, and I've always felt like there was something therapeutic for me when it came to illustrating nature reclaiming the ruins of our world.

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Arrival

Blue Sky exploration for Ellie and Dina's arrival to Seattle. Early on, this segment was tried a few different ways, some focused on much wider, more open designs, but we ended up going with the more intimate ride through the forest to establish the Pacific Northwest look, and save the reveal of the city like this for the actual Seattle Hub section of the game where you explore Downtown Seattle.

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Downtown Meadow

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John Sweeney - Art Director at Naughty Dog

Take on Me

Initially we had the view open to the outside, but added the glass last minute for performance as well as making the moment feel more isolated and intimate.

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Lush Hour

Early Blue Sky Concept for how the Downtown Hub of Seattle could look.

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Makeover

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John Sweeney - Art Director at Naughty Dog

Empty Tank

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Chasing Light

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Wing Clipping

Initially I had explored even more extreme version of Yara's arm being smashed, but with how much time she had left in the story caused us to scale back to something that would still allow her to function in gameplay. Neil had come to me with the compartment syndrome idea, and that allowed us to damage the arm beyond repair, without fear of Yara losing too much blood over the course of the next few hours.

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Apostate

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John Sweeney - Art Director at Naughty Dog

Shot in the Dark

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Chase

Early Blue Sky image for the chase sequence in Day 2 of Ellie's time in Seattle.

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Medicine

Early lighting concept and story key frame for the segment where Abby has to search an underground car park for medical supplies. Initially i wanted to play with a really dense layer of atmosphere and spores, even heavier than what we ended up with, but visibility became too much of an issue, and players were too often getting lost.

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John Sweeney - Art Director at Naughty Dog

I know you wish things were different...

This scene never made it to the final game, but was a scene where we were going to have Isaac consoling Abby after the loss of Jerry. An original image made alongside an early draft of the script for the Story Pitch to the studio.

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Joel Key Frames 1

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Joel Key Frames 2

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Justin Wentz | Concept Artist

The Last of Us: Part II

My role in the visual development of The Last of Us: Part II was small; nevertheless, I'm incredibly proud to have been involved. Honestly, it's intimidating to have my work stacked alongside the internal Naughty Dog team and the other One Pixel Brush artists. I think those guys arguably have the best taste in the industry and a finesse to their craft that I still struggle to match. I'm glad to have had the opportunity to follow their lead. And shoutout to Shaddy for always pushing for unique ideas and high execution quality within the One Pixel Brush team. The work wouldn't be what it is without his direction.
(I included a collection of jumpable barrier variations in this post to exemplify something more utilitarian. Sometimes it's enjoyable to provide practical ideas without the need for polishing a complete piece.)

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