![]() ![]() Then Check out this video as it shows the in-game cinematic of the Vault hunters in action and how they got on the bus with Marcus. If you are looking for the clean opening cinematic of Borderlands 3. I put it on the line Borderlands 3 Opening Cinematic Fandom Borderlands Wiki Explore New Tales from the Borderlands Tiny. Oh, when it’s all said and done, we don’t run Gearbox, creator of the Borderlands series, is set to purchase Lost Boys Interactive. When it’s all said and done, we can’t run Keep on fighting for the things that we trustĪnd when it’s all said and done, we don’t run Keep fighting for the things that you love ![]() If I’m up in arms, then I’m gone, I’m gone Think like a hunter caught out in the cold Their new song ‘Put It On The Line’ is featured during the introduction of the game that showcases the new Vault Hunters. The only reason anyone in the galaxy would set foot on the blasted hellhole that is Pandora is because it’s where the first Vaults were discovered: treasure troves filled with advanced technology left behind by a long-extinct advanced alien species.Just like the previous Borderlands games, the intro song for Borderlands 3 is once again done by The Heavy. Vault Hunters converge on Pandora to find these hidden treasures and to kill one another in the race to find new Vaults. And the greedy, cutthroat Hyperion Corporation has put a satellite named Helios into orbit around Pandora to plant its flag and grab all the Vaults it can.įiona and her sister Sasha are childhood Pandoran pickpockets who have graduated into accomplished con artists, and they’ve set up a scam to sell a fake Vault key for $10 million to a Hyperion executive. Rhys is a Hyperion middle manager who gets screwed out of a promotion by said executive, so Rhys and his partner Vaughn steal the $10 million and attempt to purchase the Vault key for themselves. ![]() The key is revealed as a fake, the money gets lost, and Fiona, Sasha, Rhys, and Vaughn find themselves thrown in together as Pandoran criminals and Hyperion stooges-all of whom got screwed by the deal gone wrong-chase our heroes across the planet. In the process of escaping they stumble across a key that can track down the most elusive Vault of all time. They also resurrect the digitized ghost of Handsome Jack, the former commander of Helios station and a narcissistic sociopath who was willing to destroy the planet if that meant getting his hands on a Vault. The story begins with Rhys and Fiona held captive by a mysterious stranger who is marching them across the Pandoran desert and forcing them at gunpoint to explain how the Vault key deal went wrong. The player switches between the roles of Rhys and Fiona in the flashback sequences that dominate Episodes 1 through 4. The transitions from past to present are perfectly smooth. In fact, all the editing in the first four episodes of Tales from the Borderlands is superlative and dripping with style. The opening credit sequences to all five episodes are fantastic, entirely on par with the interesting cinematography, deft editing, and catchy soundtracks of Borderlands 1 and 2. The intro to Episode 2 of Tales from the Borderlands is particularly wonderful. That the cinematography and editing in Tales from the Borderlands demand notice is testament to the well-honed filmic craft on display from Telltale. There’s a scene in Episode 2 where you have to remove someone’s eyeball with a spork in order to activate a retinal scan. The game cuts to a shot from the eyeball’s perspective as Fiona tends to the dirty work. It’s an absurd choice of cinematography for an absurd scene that could have been only cringe-worthy. Instead, it becomes hilarious for how the scene is shot, a hallmark of the best visual storytelling.ĭuring the dialogue sequences in Telltale games you are usually given three different lines to choose from, or you can remain silent. In other Telltale games, I’ve chosen one of the lines of dialogue in almost every instance. I went in with the expectation that I was meant to be center stage in every scene, because I was playing the “star” of the game. In Tales from the Borderlands, however, I chose silence more than in all the other Telltale games I’ve played combined (and I’ve played most of them). I chose silence because I was genuinely enjoying the interactions between the other characters. This gameplay video for New Tales From the Borderlands: Episode 1 is a walkthrough on how to get the best ending 00:00 Intro - Marcuss Episode 1 Intro. ![]() I didn’t want to interrupt as bosses resolved conflicts with their goons or while the motley cast of heroes argued amongst themselves. I was content to be just one character in an ensemble cast. I also chose silence because I was frequently concerned that what I had to say might get someone killed. ![]()
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