Diane Kruger grabs dinner with partner Norman Reedus
‘Walking Dead’s Norman Reedus Inks First-Look Deal With ...
Norman Reedus featured in Easyriders magazine Issue No. 1
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Norman Reedus Shares Rare Photo of Daughter for New Year's ...
The Walking Dead's Norman Reedus and ex get soppy on son's ...
Norman Reedus from AMC’s zombie drama series The Walking Dead is front and center on the cover of Issue No. 1 of Easyriders magazine. ... Ride with Norman Reedus, is a partner to Diane Kruger ... Behind the camera, Norman is a loving partner and a father of two children. Here is all that you need to know about Norman’s family life. Love Life With Wife-Like-Partner. The Walking Dead star Norman Reedus is known for his notoriously private life. Amidst the popularity the actor has been successful in keeping his personal life private. But Diane Kruger and her partner Norman Reedus ventured out in cooler hours for a late night dinner date. The actress, 44, and her beau, 51, were spotted grabbing a bite to eat in Los Angeles on ... Reedus is repped by CAA, Brillstein Entertainment Partners, Jackoway Austen Tyerman Wertheimer Mandelbaum Morris Bernstein Trattner & Klein attorneys Karl Austen and Jeff Bernstein. The above post from Norman Reedus’s instagram is a snapshot of the feet of his daughter with partner Diane Kruger. The couple welcomed the baby in November 2018. The Walking Dead star Norman Reedus and his former partner Helena Christensen have wished their son a happy birthday. Taking to Instagram, the proud parents shared a string of pictures of their ... Norman Reedus and Diane Kruger went public with their relationship in 2017 and welcomed their baby girl in fall 2018
PlayStation Studios: List of Confirmed, Leaked, Rumored Games
2020.08.18 14:35 Razzy_R_DazzyPlayStation Studios: List of Confirmed, Leaked, Rumored Games
Due to current lack of notable news regarding the PlayStation 5 and how long it passed since a detailed overview on SIE's current and future line of games here, I decided to lump all them together and gather all notable information, confirmations, reports and rumors we've been hearing over the past 2-3 years. There are so many repetitive question posts, console warring and the like. So consider this just a nice little ('little') post to go through until we'll have new stuff and interesting news in the coming weeks. I hope this will be informative and organized enough. In case you have more sources, links, credible tweets and the like, don't hesitate to share them so they can be added to this list.
SIE Worldwide Studios - Projects
Naughty Dog After over three years of anticipation, fears, doubts, delays and controversies, Naughty Dog finally released The Last of Us Part II back in June to critical acclaim and high sales.
Naughty Dog's next big project still seems to be lightyears away, and according to vice president and creative director Neil Druckmann mentioned in a June interview with him that at the time he is still unsure what will be Naughty Dog's next project; it could be a third installment in The Last of Us franchise, or it could be an entirely new IP - which would be ND's first new IP since the original The Last of Us in 2013.
Naughty Dog has been reported (and later confirmed in a tweet) to be working on a successor to "Factions", the multiplayer mode of The Last of Us. The Last of Us Part II was Naughty Dog's first game since Uncharted: Drake's Fortune (2007) to not include a multiplayer mode at launch, partly to focus most of the resources into the single-player campaign, and partly to fully realize Factions' own ambitions as its own thing. Recently, we also had leaked footage of what appears to be the game in progress.
Finally, and take this with a massive grain of salt given the source, a post originating on 4Chan and later getting reposted on both Reddit and ResetEra claims that Naughty Dog is already working on a new IP, tentatively called Stray's Cross. This game is rumored to be some post-apocalyptic, Steampunk title with first-person perspective, a departure from Naughty Dog's usual third-perspective style. The rumor also mentions that the two leads are a female scientist and a male fugitive. An even earlier rumor (dates to October 2018) by a man called Daniel Richtman (who is apparently correct with his leaks on entertainment stuff) mentions details of one of the leads' casting preferences, of a black/African-American man in his 40's-60's, with a picture of The Walking Dead actor Chad Coleman. Whether this casting refers to the new IP (whose 4Chan rumor came a year later), or something TLOU-related remains to be seen.
Insomniac Games At the time of this post's writing, Insomniac Games is the most recent member of the SIE Worldwide Studios, having been acquired in 2019 after decades of close relationship with Sony and the PlayStation. Having shipped 2018's Spider-Man to critical acclaim and extremely strong sales, Insomniac Games was one of the first studios to have its rumored PS5 projects shown in June's Future of Gaming event.
Miles Morales, however, is not the only Spider-Man game in works it seems. The first game left several open plot threads for a more proper sequel, and Insomniac Games recently promised that they have plenty to tell regarding Peter's story.
Also just to clear some things about Sunset Overdrive and an hypothetical sequel: Insomniac Games stated they would love making a sequel for the game. As of 2019, Sony - having acquired Insomniac (who owns the rights for the IP) - is now the owner of the Sunset Overdrive IP. However, former SIE Worldwide Studios head Shawn Layden said that the IP is not a priority for Sony at the time of the interview. Whether this will change or has changed after Layden's departure is to be seen.
Guerrilla Games Guerrilla Games experienced some sort of new breakthrough with the PS4 generation, releasing the beloved Horizon Zero Dawn to great success and creating the acclaimed Decima game engine which was used for Until Dawn (2015) and Death Stranding (2019) in addition to Horizon and 2013's Killzone Shadow Fall.
Horizon Forbidden West was speculated & rumored for a while and was all but confirmed before its full announcement in the Future of Gaming event. It was rumored to have originally started as a PlayStation 4 project before shifting away entirely to Sony's upcoming console. It is slated for a 2021 release and will feature new Machines to take on.
This might be a given, but another pre-announcement report claims that the IP has evolved into a trilogy and Horizon III is all but guaranteed at some point after the second game's launch.
It also seems that Guerrilla Games is working on another project outside the Horizon series (or maybe related to them?); as early as May 2018, the studio has began recruiting for a new unannounced game, which was about to begin full production. It could very well line up with the aforementioned Forbidden West, but perhaps also with another IP. By October of the same year, Guerrilla amassed talent of Rainbow Six: Siege veterans, among them is director Simon Larouche, who previously worked on the universally acclaimed Killzone 2 (2009). The obvious identity of that game might be a new Killzone game, but some rumors claim the game in question is a revival of SOCOM (which otherwise is said to be developed by SIE San Diego).
Sucker Punch Productions Sucker Punch Productions just shipped its latest game Ghost of Tsushima so it seems like their next project is still years away. In comparison to some of Sony's other studios, it's a somewhat smaller team, with less than 200 employees. Either way, Ghost of Tsushima's ridiculously high sales and positive reception prove they're not going anywhere.
The most obvious candidate to Sucker Punch's next game would be a sequel to Ghost of Tsushima. There is little to say about it that is not speculation, but it is a very likely project to tackle after Ghost of Tsushimasold over 2.4 million copies in three days, becoming Sony's fastest-selling PS4 IP. It should be noted that the Mongol invasion of Japan resumed in 1281), which could be used as the setting of a sequel.
Elsewhere, Sucker Punch renewing the domain of the InFamous site sparked some speculation about the studio returning to its previous series.
Finally, perhaps Sucker Punch will choose to expand on Prophecy, the intriguing tech demo/unreleased game whose footage was leaked during July 2020 and was developed around 2014.
Polyphony Digital Sony's resident racing game studio, Polyphony Digital is dedicated to the Gran Turismo series. And this isn't going to change any time soon in my opinion. The studio's latest release was 2017's Gran Turismo, which despite being the lowest-rated title in the main franchise, was still a major commercial success and gradually received warmer reception as Polyphony added new content.
Gran Turismo 7, obviously. Even before its official announcement, the game was heavily rumored and its logo was even accidentally leaked back in May 2020. Current release date is unknown.
PixelOpus This is gonna be a brief one. PixelOpus is Sony's smallest internal studio, and to this date only shipped two games since its inception in 2014. The latest one was 2019's Concrete Genie, which got favorable reviews even if it wasn't a massive sales story. Whatever the studio is working on nowadays remains a mystery, as they finished support for their latest title. Media Molecule Media Molecule is Sony's most unique studio in terms of its projects, aiming to push player creativity and interactions more than any other developer under its umbrella. After nearly a decade, the team finally released its latest project Dreams in February 2020 as yet another critically acclaimed platform for creators and designers.
It feels obvious that Media Molecule will primarily focus on Dreams for a while, which in the past was said to be designed for support for a decade and even more. They recently added VR support to the game and creative Mark Healey mentioned that a PlayStation 5 edition of Dreams is the "next big step".
It's currently unknown if Media Molecule is involved in some capacity in Sumo Digital's continuation of its LittleBigPlanet franchise, Sackboy: A Big Adventure, announced during the Future of Gaming event. It should be noted that the studio was involved in LittleBigPlanet 3's early development, which was also primarily developed by Sumo Digital.
SIE Japan Studio SIE Japan Studio is Sony's biggest studio and its flagship development place. It is a wild card responsible for multiple games of different genres, styles and scope, and tends to collaborate with other developers just as much as it develops its own in-house productions. Some of its most notable games during the PS4 generation include Gravity Rush 2, Astro Bot: Rescue Mission and the Knack duology, as well as co-productions on Bloodborne, The Last Guardian and Shadow of the Colossus remake.
Current known projects include Astro's Playroom (developed by ASOBI Team) as a pre-installed game for the PlayStation 5 and the heavily rumored Demon's Souls remake in co-production with Bluepoint Games, both were unveiled during the Future of Gaming event in June 2020. The former will serve as a presentation of the DualSense controller, and was recently shown by game presenter and gaming personality Geoff Keighley; the latter was said to offer two performance modes based on fidelity or frame rate. Astro's Playroom will launch with the PlayStation 5 during Holiday 2020; no release window for Demon's Souls has been provided.
Due to the nature of this studio it's unknown what else they're working on aside from a few speculations and rumors. Back in January 2017, right around the release of Gravity Rush 2, creative director Keiichiro Toyama (Silent Hill 1, Siren, Gravity Rush) mentioned he'll begin a new project after GR2, while everyone's favorite smiling executive Shuhei Yoshida mentioned that SIE Japan is working on multiple games yet to be announced.
The biggest rumor surrounding this studio is Silent Hill. The rumor apparently dates back to ResetEra, where user KatharsisT claimed that a new game is in development with the aforementioned Toyama as well as series artist Masahiro Ito and series composer Akira Yamaoka, a claim which was apparently verified by the mods there. A fellow 'insider'/'leaker'/whatever you like called Dusk Golem (who got himself caught in controversy recently but I'm sure the majority of you are aware of it) later claimed that it is internally developed by SIE Japan Studio as part of a licensing deal between Sony and Konami. Given Dusk's recent behavior, whether you want to continue to believe his addition to the rumors is up to you.
While from the leaks it sounds like Toyama will be very busy for the coming years, he expressed his desire to make a third Gravity Rush game, though it will likely wait for the now-announced PlayStation 5.
In December 2017, SIE Japan was noted to have trademarked something called Ray Space. What exactly this game is, is unknown. But apparently it's a very ambitious science-fiction game with rumors and hints dating all the way back to 2014.
SIE Bend Studio After over a decade of working on handheld titles, Bend Studio finally returned to home console AAA development with 2019's Days Gone. It didn't get the rave reviews some other big Sony games got, but players absolutely loved it and the game proved to be a surprise hit with pretty solid sales for a new IP by a somewhat obscure team.
Days Gone ended with a sequel hook, so it's likely that their next project would be a sequel. As of October 2019, the studio was already working on pre-production of their next title and began recruiting new talent. By April 2020, the studio was still recruiting new talent for their next project.
SIE Santa Monica Santa Monica Studio stands as one of Sony's most acclaimed teams, and is responsible for God of War. After a very uncertain time between 2011 and 2016, including the disappointing results of 2013's God of War: Ascension, lay-offs and the cancellation of an ambitious sci-fi IP, the studio found its footing again with 2018's reimagined God of War, ushering a new dawn on the once-troubled studio.
Let's get this out the way; a fifth God of War game is inevitable. The game has a few open plot threads and is ripe for an even grander sequel after the smashing success in reviews and sales. Hell, director Cory Barlog even said he has ideas for five more games. Cory also suggested he would NOT direct the next game, and a tweet by him from January 2020 mentioned Eric Williams; is he gonna be the director of the next game?
As for other projects, it's been hinted that an entirely new game is in works at SIE SM. Cory already mentioned that he pitched (couldn't find the original tweet, it's buried under two years of tweets and retweets) a new idea to Sony, and since then we've been given cryptic tweets and other hints about this mystery title. Film director Duncan Jones tweeted about what's next for Barlog, and Barlog himself dropped some weird tweet that caused wild speculation. Either way, SIE SM apparently assembles a second team.
SIE London Studio SIE London primarily focuses on experiences revolving around the PlayStation brand's different applications and accessories. However, after years of being in the background, the studio got the spotlight upon delivering Blood & Truth, a VR shooter that shocked everyone thanks to its quality and production values.
SIE London already began recruiting for a new project by late 2019. As with Blood & Truth, this title is likely to be VR-based. Given the way Blood & Truth sets itself up (see the pattern here?), a sequel is very likely to happen.
SIE San Diego Studio Like Polyphony Digital, San Diego is best known for doing one flagship series, MLB: The Show, though unlike the former San Diego Studio has ventured into other IPs in a more frequent rate.
MLB: The Show 21 is obviously coming in 2021, though the most interesting aspect about it thus far is that starting with this entry, all future MLB titles will be multiplatform as a result of a new contract between Sony and the MLB association. So expect to see those future games on Xbox and likely the Switch as well.
Also, remember that SOCOM title from Guerilla's part? There is some speculation that the actual developer of the title is not Guerrilla, but San Diego Studio. Given the studio's relatively recent relocation to a new building and a slight revamp to their logo, the studio might work on a new project separated from the MLB series; their last non-MLB games were released in 2017 as collaborations with third-party studios, so there is a notable gap here.
Sony's Secret Studio in San Diego More or less an open secret by now, Sony founded a new development studio in San Diego circa 2018, within the Visual Art Studio Group of Sony. And for the past two years, it's been recruiting talent from various places, including ex-Naughty Dog environment artist Zack Oliver and Red Dead Redemption 2 senior animator James Martinchek, with senior game designer Quentin Cobb apparently leading the team.
Their first game's identity is yet to be confirmed, though from what I've seen the chief speculation is an Uncharted continuation. The only things we know right now is that the game is probably a third-person action/adventure game and will be in collaboration with another Sony-owned studio.
External Developers - Confirmed, Announced Games
With the exception of Wild, the following titles were announced during Sony's Future of Gaming event.
Demon's Souls remake (TBC) - Bluepoint Games (Shadow of the Colossus remake) in collaboration with SIE Japan Studio (co-developer of the original game and the provider of the original pitch)
Sackboy: A Big Adventure (TBC) - Sumo Digital (LittleBigPlanet 3): A successor to the LittleBigPlanet featuring protagonist Sackboy in a 3D platform style in contrast to the original series' focus on 2.5D levels. Will include co-op mode.
Destruction AllStars (TBC) - Lucid Games (Travel Bug, PlayStation Vita Pets: Puppy Parlour): A vehicular combat video game with apparent focus on multiplayer. Trailer indicates arena fights in which the player can fight on foot in addition to using a vehicle.
Returnal (TBC) - Housemarque (Super Stardust, Dead Nation, Resogun, Alienation, Matterfall): A third-person shootesurvival-horrorougelike title which features an astronaut on a hostile alien planet, stuck in a time loop that relapses every time she dies. The studio had a pretty rough time in recent years, with a decision to stray away from their traditional arcade shooters due to the genre's lackluster footnote in sales. The studio announced its plans to work on an AAA project and licensed the Unreal Engine 4 for the project, putting its other project on hold. It will make extensive use of the DualSense's features.
Wild (TBC) - Wild Sheep Studio: Sony's ambitious yet uncertain survival game was announced all the way back to Gamescom 2014, but has been missing ever since. The latest we heard about the game was regarding some old art resurfacing this year a few months ago. Whether the project has been scrapped or moved to PlayStation 5 is unknown at the time of this writing.
External Developers - Confirmed, Unannounced Games
Impulse Gear, developer of the VR shooter Farpoint, is hiring for its next VR project, said to "redefine AAA VR gaming". Whether this new project is partnered with Sony as a publisher is unknown.
Kojima Productions which developed 2019's Death Stranding has secured enough funding for their next project thanks to their first project's commercial performance, though a recent project has been shafted. Studio head and game director Hideo Kojima expressed his desire to work on a horror game after Death Stranding, and was in talks with actor Norman Reedus (previously collaborated on both the cancelled Silent Hills and Death Stranding) for a future project. Kojima also expressed that he wants to work on a VR game, but at the time of that statement he was not free enough to pursue that project. It's unknown if Kojima's next project will be partnered with Sony as publisher.
While Other Ocean Emeryville shot down rumors about a remake of MediEvil 2 (originally developed by the now-defunct Guerrilla Cambridge), the composer of the first game's 2019 remake noted that the game did well commercially. Whether it will manage to warrant a continuation remains unknown.
Sanzaru Gamesexpressed desire to work on a fifth Sly Cooper and finally resolve the cliffhanger of 2013's Sly Cooper: Thieves in Time, though they confirmed in December 2019 that they were not working on the project and said that fans should let Sony know they want another game. If a fifth game will ever get made, however, it won't longer come from Sanzaru, which was acquired by Facebook in February 2020.
Ready at Dawn likewise expressed their own desire to make a sequel for its 2015 polarizing game The Order: 1886. And just like Sanzaru, chances for a continuation by the developer are close to zero with the acquisition by Facebook in June 2020. It should be noted that rumors about a sequel to The Order IP formed in January 2020. If such project indeed existed, its current situation is uncertain.
FromSoftware president and creative director Hidetaka Miyazaki said back in late 2019 that his favorite game to work on was 2015's Bloodborne. However he also more or less stated that Bloodborne 2 has yet to be materialized and he is "not the one to decide" about its future. It should be noted that Miyazaki is currently busy with Elden Ring.
Beyond what's written here, there have been many, many rumors, speculations and other stuff about other Sony-related projects: Rumors about Sony acquiring the likes of Kojima Productions or Remedy Entertainment (Max Payne, Alan Wake, Control). Rumors about an unannounced multiplayer-focused game by Remedy for the PlayStation 5. Rumors about Bloodborne and Dreams coming to PC alongside God of War and the Uncharted PS3 trilogy. Rumors about Horizon Forbidden West including a co-op mode. A fake 'leak' about Spider-Man 2's plot and gameplay details. Rumors about Kojima making up with Konami to revive Silent Hills. Rumors about Sony acquiring Konami's top three IPs. Etc, etc. I did like the rumor about Castlevania getting a Bloodborne-esque revival. That's it for now. If you guys have any other substantial or reliable information to add to the post; some worthwhile rumors or leaks, don't hesitate to share so I can update, correct and improve this list.
2019.10.12 05:58 MilesXVPsychology Behind Death Stranding
DISCLAIMER: As soon as someones says this has already been said I'll delete the post. Recently I've been in contact with some kind of "model" taken by some psychologists due to some sad motives, and every time that I heard something it started to remind more and more about Death Stranding. The Hero's Journey: This is one is very obvious, Sam is the main protagonist of the game, he must go through a long journey to become a hero and etc. But there are some little aspects hidden. The Hero's Journey is not only about a especial powerful guy that goes to a high castles, kill dragons and save pretty princess, it can also be about you, a normal person that wakes up early every day, eat a common breakfast, go to your job, try to have friends, gets your car broken, argue with your partner, take care of your sons and/or daughters, this kind of thing. This journey is cyclic, just as Sam's routine: he gets the packages, goes to the place where they need to be delivered, fight some enemies and if he dies it will start all over again. Also, talking about enemies... Sam's Shadows: A shadow can represent something that you dislike or something that makes you very bad deep inside. Norman Reedus is mainly known by playing the cast of Daryl Dixon, a character well known by don't trusting other people and never getting attached to them (we can see resemblances with Sam). If we consider that "Sam's Shadow" is getting connected with other people because of unknown reasons, this would explain why he refuses Amelie/Bridget request to "reconnect America", why he doesn't like using the handncuffs and also why the main threat of the game are BTs, "shadow people tryng to grab him" In this case he wouldn't end up as being a savior or humanity last hope, he's just the right guy for the job that must go trough this misfortune to overpass his situation. Which brings us to... Hades: Hades is the equivalent to hell in the greek mythology, but, in this case, Hades can be interpreted as some life adversity (loss of someone, sickness, financial problems.) every olympic hero that went to hades came back stronger. Cliff is someone that is very connected to Hades, in the flashbacks he seems to be some kind of scientist, but in the trailers he is always connected to this hades place, but now looking more like a soldiedemon than anything. During the game we may see all main characters going through some kind of bad situation just to become stronger. Tl;dr: Death Stranding MAY have inspiration by The Jungian Model of Psyche and can be about Ludens going through a simulation to evolve.
2018.06.16 01:52 JagadishaThe podcast S-Town will become a motion picture, and this is my personal dream cast
Jason Schwartzman as Brian Reed – host and executive producer Woody Harrelson as John B. McLemore – horologist Frances McDormand as Mary Grace McLemore – John's elderly mother Emile Hirsch as Tyler Goodson – John's younger friend and employee Ben Foster as Jake Goodson – John's employee and Tyler's brother Norman Reedus as Kabrahm Burt – rumored to have murdered Dylon Nicols Sam Rockwell as Dylon Nicols – purported to have been murdered by Kabrahm Matthew McConaughey as Allan "Bubba" Cresswell – co-owned a tattoo parlor with Tyler Margot Robbie as Skyler Goodson – Jake's wife Jeff Bridges as Allen Bearden – John's friend and a horologist based in Pell City, Alabama Jennifer Jason Leigh as Reta Lawrence – John's cousin Tommy Lee Jones as Charlie Lawrence – Reta's husband Kevin James as Jeff Dodson – mayor of Woodstock and briefly John's business partner Elizabeth Banks as Faye Gamble – Woodstock town clerk to whom John spoke on the phone while he committed suicide All of the above descriptions are taken from https://en.m.wikipedia.org/wiki/S-Town Most of the aforementioned actresses and actors have all convincingly portrayed characters similar to those Brian Reed met during the production of S-Town, in movies/shows such as True Detective Out of the Furnace Three Billboards Outside Ebbing, Missouri Hell Or High Water I, Tonya Z for Zachariah Killer Joe The Walking Dead Atmospherically, a lot of these titles could serve as an example for S-Town the movie. I am well aware of the fact that this cast in its entirety would probably be unaffordable for this kind of production, but there you have it, my dream cast for S-Town.
2018.06.03 21:40 Psyga315Finding out the meaning of Jameskii's Fortnite OP
Okay, I'm pretty new to Fortnite skins so bare with me as I try to figure out the characters and what their possible story is. This is the OP I'm looking at: https://www.youtube.com/watch?v=eqNg4MRBeNE First off, this is giving me a lot of BnHA S3 OP vibes. We open with this purple eyed Reaper-like dude who gives off a villain impression. Though it's kinda natch for an anime OP to begin with the villain. After the title, we are introduced to the heroes, who, from their generic looking skins (they have the same green uniforms), are probably rookies and therefore the protagonists. We see a bit of teamwork with the riding on rockets trick and building a bridge as they're running, showing how unified the team is. We cut to some other characters who have a slightly stronger significance to the heroes but aren't exactly mains. This includes the mentor (the second last character shown before the song hits) and the ensemble darkhorse/Froppy (the teddy bear) before we cut to the heroes kicking ass. After that, we see the mentor and a tomato dude partnering up. Perhaps tomato dude is a veteran like the mentor. Teddy Bear throws a dance party. We cut to the Mentor standing with other characters who may be the seniors (think the teachers from BnHA or the Jōnin from Naruto), followed by who are definitely the villains with the coloring and the JoJo Rumble font. Rocker girl seems to be akin to Himiko Toga, either Fish Dude and Astronaut would be Purple Reaper's second in command, and Purple Reaper is the main villain. We see a cut where it shows who looks like Norman Reedus and Purple Reaper, possibly hinting that they were one in the same before some big disaster happened in which Norman became Reaper. Then it comes with a final clash between the mentor and Reaper, who, given the connotations of contexts, seems to be a mashup of Kakashi vs. Tobi and All Might vs. All For One. With the song saying "before I say goodbye to you, one more last fist bump", it's probably implying that this is the mentor's last fight before he dies. What are your opinions? Like, what do you think was happening in the OP?
2018.03.18 05:12 Proto_WeltallInferno, Purgatorio, and Paradisio
The purpose of the Ruse has always been to achieve two goals. The primary goal is for Kojima to use his Video Games to prove to us that "There are no facts, only interpretations". Yes, I know you are just as sick of hearing it as we all are. There is a reason that Kojima put that Friedrich Nietzsche quote in the beginning of The Phantom Pain, it serves as the thesis for his work on what will one day be known as the Metal Gear Solid V Compilation. In other words Kojima wants to prove to us through his video games and public persona that everything is surrounded in a sea of misinformation. That there is no such thing as a fact or rather a truth. That the truth is something easily hidden or adjusted to serve those promoting or presenting said information. It's really important for the Ruse to be taken seriously to understand that it is not about Metal Gear Solid V. The ARG (Alternate Reality Game) we call the Ruse is simply the latest chapter in Hideo Kojima's career as an artist parading as a game developer. With that said, each installment in the Metal Gear Legacy should be treated less as a seperate game and more as a mutually exclusive selection thats part of the same ARG. The ARG is essentially Hideo Kojima's life. How ever the ruse ends for this compilation of games, know that it will not be the end. It will continue with his future products much like how in Metal Gear Solid 2: Sons of Liberty we had a much smaller "ruse" or "ARG" in which Raiden was hidden from us. Colonel's speech at the end of Sons of Liberty is likely the closest we will ever get to Kojima explaining thoughts that inspired the Ruse.
In the current digitized world, Trivial information is accumulating every second, preserved in all its triteness. Never fading, always accessible. All of this junk data preserved in an unfultered state, growing at an alarming rate. The World is being engulfed in truth. You seem to think that our plan is one of censorship, it is about providing context.
Our Ruse Cruise is an ARG where Kojima is going to show us that despite all of the trivial information that is constantly accumulating regarding his termination from Konami, it was never factual or true in the first place. That we interpreted it that way due to the context provided to us by trusted industry members and affiliates. The very nature of this experiment, or game on Kojima's part constitutes the idea that he does have something worthwhile to teach us. This is simply that Media Manipulation exists. We were simply part of those "living in gated communities afraid of joining a larger forum, conveniently leaking whatever truth suits them". Even this thread, is simply my interpretation or my truth. Its a similar concept to the movie The Life of David Gale directed by Alan Parker. It's a pretty shitty movie but it deals with the idea of capitol punishment. Basically, Kevin Spacey plays David Gale who is an activist opposing Capital Punishment. At some point in the movie one of David Gale's fellow activists is discovered murdered and all evidence at the crime points to him being the killer. He is convicted of murder and sentenced to death. After Gale is executed, a video is mailed out that shows the female activist and Gale conspiring to prove the innacuracy of the Justice System. The female activist kills herself, and afterwards Gale plants evidence that leads directly back to him as the culprit. Essentially, Gale and his partner proved that the criminal justice system could fail to protect the lives of innocents, and even execute the wrong person. Of course in order for an ARG to be successful it really has to accomplish two things. First it needs to be able to make money, increase stock value, spur word of mouth advertising, inspire journalism or in some way shape or form increase revenue's for its company. In this case it needs to be successful for Konami and Kojima. Secondly, the end game of the ARG has to be valuable to consumers. In the event that the Ruse is real, and we are able to complete Kojima's ARG it will absolutely accomplish all of those goals. Can you imagine Facebook, Reddit, Twitter, and Youtube just collectively losing there heads? The internet as a whole will be foaming at the mouth producing untold levels of junk data regarding the entire act. If it is in fact real, and pulled off correctly it will be unbelievably successful for Konami and Kojima. So where does Metal Gear Survive fit into this whole thing? The latest entry into the Metal Gear franchise suggests that we are now at the half way point of the ARG. Much of this information is common knowledge at this point but its important to understand Survive's role to play. In Metal Gear Survive the character is told that they are going to hell, or is already in hell. The setting for Survive is called Dite. This name is lifted from Divine Comedy by Dante Alighieri which is a long poem dealing with views on the afterlife. The poem is seperated into three sections. These sections are titled Inferno, Purgatorio, and Paradisio. Each respectively explores the concepts of Hell, Purgatory, and Heaven. Furthermore, our AI Companion in Survive, is conveniently named Virgil. This name is shared with a roman poet who guides Dante throughout Hell or Dite. It appears that Survive's Dite takes place underwater, or below some type of suspended body of water as well. This is important in regards to Death Stranding. Its important to understand that at this point of the Ruse we are all embarking on our journey through Hell, Purgatory, and eventually Heaven. Survive is in classic Kojima style a perfect representation of Hell. A Metal Gear Solid game without Kojima's approval which places its "heroes without names" directly into hell. The irony is almost taxing, Survive is the first chapter of Divine Comedy for us being forced to play through Metal Gear by Konami. In other words, our paradise would be Metal Gear Solid (A), made by Hideo Kojima (B), and produced by Konami(C). Survive nails 2/3 of our needs. So where does Death Stranding fit into the ARG? Death Stranding is the second step of the Ruse and it deals with the idea of Purgatory. At TGA 2017 Kojima said “One of the themes of this game is life and death. So I want people to realize that when they die in the game, that isn’t the end.” Additionally, “Death will never pull you out of the game”. In the TGA 2017 trailer of Death Stranding we see Sam's (Norman Reedus) two allies perish while being dragged off by Unspecified Lifeforms. After the first ally is shot and killed, the man trying to save him has a randomly generated artificial womb appear on his chest carrying an infant. This is the theme of reincarnation put into play. In the TGA 2017 trailer we see Sam engulfed in a massive explosion and then he appears underwater. What's interesting is that in Death Stranding each time you die you are sent to an underwater world. According to Kojima Sam (Reedus) has special abilities that allow him to travel through this world in first person, and it exists as an element of the game play. This is significant to Survive thematically because Dite appears to be underneath a body of water in hell, and we know Death Stranding deals with the idea of Purgatory which is in between Hell and Heaven. So in Survive we have a sky made of water, and in Death Stranding we have a separate world that exists under water. The only appropriate conclusion is that the third piece of the puzzle which represents Paradisio will be above the actual water and on earth. Death Stranding exists as a convenient middle ground and nails 1/3 of our needs. It is a Kojima made game, however it is not Metal Gear, and we dont have Konami backing him. Chapter 3 is supposed to be the final chapter of Divine Comedy; Paradisio. After going through Hell with Konami, and Purgatory with Kojima we will join our Big Boss again in Paradisio or (Outer) Heaven. A Note on Kojima's Character Kojima always said that he wanted to direct movies. Theres a great episode of the tv show Icons about him, where he states that he wanted to get into movies but felt it would be too difficult. As a result he saw the emerging success of video games as a medium and decided to jump on board the train. He felt that he could use video games as a means to eventually direct movies. Lets be clear, this was a business move. Kojima stated in an interview with Official Playstation Magazine;
I don't think they're art either, videogames. The thing is, art is something that radiates the artist, the person who creates that piece of art. If 100 people walk by and a single person is captivated by whatever that piece radiates, then it's art. But videogames aren't trying to capture one person. A videogame should make sure that all 100 people that play the game should enjoy the service provided by that videogame. It's something of service. It's not art. But I guess the way of providing service with that videogame is an artistic style, a form of art.
Kojima is an artist parading around as a businessman. For this reason its obvious he deeply respects monetary success in addition to actual art. If you take a look through a great deal of Kojima's tweets you can see how much attention he pays to big budget actors/actresses and movies. Hell, even the announcement trailer for Metal Gear Solid 4 payed respect to The Call of Duty franchise, albeit as satire. So it should come as no surprise that Kojima chose Norman Reedus for PT, and Death Stranding. Norman Reedus was chosen specifically for his success on The Walking Dead and his near super stardom in the USA. However, whats most interesting is that Kojima appears to be a reasonably big fan of The Walking Dead as a whole. And why shouldn't he? The Walking Dead is one of the most successful TV Shows in history. Personally, I think its awful, but that is aside from the point. According to Variety back in 2013 the show was pulling in about $11,000,000 in advertising revenues per episode premier. Now imagine re-runs, merchandising, apps, games, and all other additional sources of promotion. Norman Reedus and The Walking Dead are the link from Metal Gear to Kojima and to Survive. In fact I've never played a game that so closely resembles the action of The Walking Dead TV Show. The use of Gadgets like fences, and weapons like spears is lifted directly from the action sequences of The Walking Dead. I'd be willing to bet if you looked up the defense based action sequences on The Walking Dead they would bare a striking resemblance to the gameplay of Survive. I say this because TWD is one of the few zombie shows/movies that pays a great deal of attention to its characters using the environment to there advantage. Obligatory mention of the "How bout them Zombies eh?" tape in The Phantom Pain. Sources:
2017.12.09 23:57 AlbertChessaHere Is My Beginning - A Grey Commotion Of Mind, The Great Light That Devours, In The Madhouse Of The Skull: The Significance Of The Name Samuel & Norman’s Seeming Calmness Towards The Unseen (Death-Beings) & Emotion Towards The Cherubim (Life-Babies)
Caveat: this is a very long post. Not Max Landis long (A Scar No One Else Can See), but still quite thorough. It is intended to serve almost as more of a hub for subject matter connections, revolving around the name Samuel, and the aspect of him being seemingly numb to/unaffected by death and conversely hyperemotional about life. With that in mind, please don’t feel obligated to read every single word - scroll through and spot any content that interests/piques you at your leisure. Of course, if you do read it all, kudos and props to you, and welcome to my brain pretty much, hehe :D At worst/least you’ll have hopefully found some mote of it interesting unto itself, but my hope is that these connections truly could hold up and bear direct relevance to Death Stranding & Kojima. Caveat 2: As per usual on Death Stranding Podcast, I explore beyond the bounds of just Death Stranding and end up drawing inevitable parallels between the game and Kojima himself, even extending that further still with Kojima’s own personal connection to, and channeling of (wether consciously or not) the character of Sam and the themes of Death Stranding. The path that he has taken, and that he is currently on both creatively and in life, are laid bare in many obvious instances of Death Stranding's premise and imagery (we have an episode coming up dedicated entirely to "A Symbolic Reading of Death Stranding As Unconsciously Expressed Metaphor for Kojima’s Life/Processes/Being"). That these congruencies/parallels are as unprecedentedly close (as I found them to be) to Kojima himself as they are, even considering his previous titles, speaks volumes of how personal Death Stranding is for him — the closest work to his most foundational/formative aspects/concepts yet, for certain. This article will discuss the recently revealed name of the protagonist of Death Stranding, performed by Norman Reedus - ‘Sam’, as well as his character seemingly being unaffected (emotionally and physically) by the events happening around him. Many articles to come will, I am sure, investigate the latest trailer’s allusions to Lovecraft, which I’m excited to read, but out of everything that leapt out at me was, arguably, the most solid piece of information we now have: the name Sam. I’ll be expanding on/referencing this write-up during a specially-dedicated segment on Death Stranding Podcast Episode 9 (I showed my partner the latest trailer, and as a specialist in behaviouemotion/meaning through her work, she immediately told me about the subjects I’m about to discuss, which I just had to share with you all here) recording in about 24 hours, but for now, I wanted to lay down the backbone of the connections I think I may have made. Make of it what you will :) Introduction As mentioned above, when we watched the trailer again, I turned and asked what stood out to Ray, and we discussed the name Sam, or Samuel, and the deep-dive began there. Three Samuels of note arose to the forefront - Beckett, Johnson, and the biblical Samuel - and so this analysis will focus on them, in three parts. After hours of reading, what was revealed was a common thread of/obsession with Beginnings and Endings, First Creation, Birth and Death, and even an allusion to being both a Prophet and one who leads others to certain doom (as we saw in Trailer 3). Please enjoy. Part 1: Samuel Beckett - A Kindred Mind, Set Amidst Darkness And Light The most kindred Samuel that I believe could be paired/matched with Kojima, and the first which I will cover, would be Samuel Beckett. If you haven’t heard of this gentleman, I have the great pleasure of introducing you to him, and believe me, if you connect with Kojima and Death Stranding on any thematic/philosophical level, you’ll be very glad to know him and his work. Samuel Barclay Beckett (13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. Beckett's work offers a bleak, tragicomic outlook on human existence, often coupled with black comedy and gallows humour, and became increasingly minimalist in his later career. He is considered one of the last modernist writers, and one of the key figures in what Martin Esslin (academic scholar and professor of drama) called the ”Theatre of the Absurd”. Beckett was awarded the 1969 Nobel Prize in Literature "for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation". He was elected Saoi (‘wise one’) of Aosdána (an Irish association of artists created in 1981, whose governing body is called the Toscaireacht) in 1984. I’ve long thought Hideo has kindred selves out there, one of them being Tarkovsky (which I want to explore in another post/episode), and Beckett unquestionably is one as well. When reviewing the imagery of the latest trailer with a collection of Samuel quotes (from many and various works, including The Unnamable and Waiting for Godot, as well as personal transcripts/interviews) handy, we found the following connections: “The tears stream down my cheeks from my unblinking eyes. What makes me weep so? There is nothing saddening here. Perhaps it is liquefied brain.” Kojima Connection: Sam’s character’s eyes are unblinking and emotionless as he weeps. “You must go on. I can't go on. I'll go on.” Kojima Connection: I’ll Keep Coming. “Dear incomprehension, it's thanks to you I'll be myself, in the end.” Kojima Connection: Through being his inexplicable, ultimately unexplainable self, Kojima is truly being who he is now. “How all becomes clear and simple when one opens an eye on the within, having of course previously exposed it to the without, in order to benefit by the contrast.” Kojima Connection: Even having insight into the deeper layers beneath imagery, its the interplay and juxtaposition between what is at the surface and what forms the core of an idea/theme that creates something fascinating and worthwhile. “the question may be asked, off the record, why time doesn't pass, from you, why it piles up all about you, instant on instant, on all sides, deeper and deeper, thicker and thicker, your time, other's time, the time of the ancient dead and the dead yet unborn, why it buries you grain by grain neither dead nor alive, with no memory of anything, no hope of anything, no knowledge of anything, no history and no prospects, buried under the seconds...” Kojima Connection: Apart from the ‘grain by grain’ connection to Blake’s ‘grain of sand’, the imagery of the dead and the thick sludge of time enveloping us, and being neither dead nor alive (between realms) “Let there then be light, it will not necessarily be disastrous. Or let there be none, we'll manage without it. But these lights, in the plural, which rear aloft, swell, sweep down and go out hissing, reminding one of the naja (a Snake), perhaps the moment has come to throw them into the balance and have done with this tedious equipoise, at last.” Kojima Connection: Equipoise means ‘balance of forces’, and that balance (life, brought by the the first explosion which enabled earth to be in a stable state for millions of years) is now being ‘done with’ by the second explosion, the one which will be our last (life and physics and reality as we know it breaking down). Also, the ‘let there be light, or let there be done’, references Sam’s seeming nonchalance at the events happening around him. More on this later. “The tears of the world are a constant quantity. For each one who begins to weep somewhere else another stops. The same is true of the laugh.” Kojima Connection: We’ve seen when lining up trailers that some events that begin in one/end in another. “We always find something, eh, to give us the impression we exist?.” Kojima Connection: What binds us to reality? Does it matter if that’s only in our heads, and in fact, we are adrift? “They give birth astride of a grave, the light gleams an instant, then it's night once more.” Kojima Connection: This drips of the imagery of the third trailer - The corpse, the baby, the lights gleaming from the vehicle, the light at the hand-headed colossi’s mouth, and we’re in the darkness of the ocean with Sam. “The creation of the world did not take place once and for all time, but takes place every day.” Kojima Connection: The ‘ever-renewing now’ and the ‘ever-creating universe’ is a concept in both physics and philosophy, and ties into Death Stranding’s themes of eternity/infinite variations of the same dimension. Bonus Quantumyth connection: this is the entire premise of QM, that the creation of the world is occurring at all times, with no one ‘creation myth that began it all.’ “Words are the clothes thoughts wear.” Kojima Connection: Just gonna leave this one here… “I'm all these words, all these strangers, this dust of words, with no ground for their settling, no sky for their dispersing, coming together to say, fleeing one another to say, that I am they, all of them, those that merge, those that part, those that never meet, and nothing else, yes, something else, that I'm something quite different, a quite different thing, a wordless thing in an empty place, a hard shut dry cold black place, where nothing stirs, nothing speaks.” Kojima Connection: ‘I am all these things in one man’ = ‘all of heaven in a wild flower’ “Art has nothing to do with clarity.” Kojima Connection: Self explanatory :P “Was I sleeping, while the others suffered? Am I sleeping now? Tomorrow, when I wake, or think I do, what shall I say of today?” Kojima Connection: Was Sam safe all this time, while the others died around him? “If there is one question I dread, to which I have never been able to invent a satisfactory reply, it is the question what am I doing.” Kojima Connection: The answer of why something is worth doing is in the doing the thing itself, and the reason for doing it at all is our nature - as creative-thinking mammals. “To find a form that accommodates the mess, that is the task of the artist now.” Kojima Connection: How he coalesces his ‘mind mess’ into an actually emotionally resonant and ‘structured’ story. “When a man in a forest thinks he is going forward in a straight line, in reality he is going in a circle. I do my best to go in a circle, hoping to go in a straight line.” Kojima Connection: Warped and intricately interwoven twist-filled narratives that end up telling a linear tale. “But what matter whether I was born or not, have lived or not, am dead or merely dying. I shall go on doing as I have always done, not knowing what it is I do, nor who I am, nor where I am, nor if I am.” Kojima Connection: Sam’s nonchalance… “But I know what darkness is, it accumulates, thickens, then suddenly bursts and drowns everything.” Kojima Connection: Third trailer imagery. “Words and images run riot in my head, pursuing, flying, clashing, merging, endlessly. But beyond this tumult there is a great calm, and a great indifference, never really to be troubled by anything again.” Kojima Connection: Sam’s nonchalance. “The essential is never to arrive anywhere, never to be anywhere. The essential is to go on squirming forever at the edge of the line, as long as there are waters and banks and ravening in heaven a sporting God to plague his creature, per pro his chosen shits. I've swallowed three hooks and am still hungry. Hence the howls. What a joy to know where one is, and where one will stay, without being there. Nothing to do but stretch out comfortably on the rack, in the blissful knowledge you are nobody for eternity.” Kojima Connection: Ostensibly describes Kojima’s creative/life ethos. “For to know nothing is nothing - not to want to know anything likewise… but to be beyond knowing anything… to know you are beyond knowing anything.. that is when peace enters in, to the soul of the incurious seeker.” Kojima Connection: Kojima is undoubtedly an incurious seeker, as are all his protagonists.” “The search for the means to put an end to things, an end to speech, is what enables the discourse to continue.” Kojima Connection: What more can be said beyond words already spoken? How can you innovate a new genre in a sea of ‘been there, done that’? “But I was not made for the great light that devours, a dim lamp was all I had been given, and patience without end, to shine it on the empty shadows.” Kojima Connection: The Great Light That Devours (The colossus from the third trailer devouring the CDT worker) “Let us not waste our time in idle discourse! Let us do something, while we have the chance! It is not every day that we are needed….To all mankind they were addressed, those cries for help still ringing in our ears! But at this place, at this moment of time, all mankind is us, whether we like it or not. Let us make the most of it, before it is too late!” Kojima Connection: ‘all mankind is us’ - we are Ludens. We are all experiencing the same thing, yet were doing so differently for every one of us. Kojima wants to channel this symbolically and in terms of gameplay - we will all BE Norman (Sam), as he Reedus puts it. “what would I do without this world what would I do without this world, faceless, incurious? where ‘to be’ lasts but an instant, where every instant spills in the void the ignorance of having been without this wave where in the end body and shadow together are engulfed what would I do without this silence where the murmurs die the pantings the frenzies towards succour towards love without this sky that soars above its ballast dust what would I do what I did yesterday and the day before peering out of my deadlight looking for another wandering like me eddying far from all the living in a convulsive space among the voices voiceless that throng my hiddenness” ― Samuel Beckett, Collected Poems in English and French Kojima Connection: imagery of the third trailer, engulfing, convulsive (the body)… “The confusion is not my invention. We cannot listen to a conversation for five minutes without being aware of the confusion. It is all around us and our only chance now is to let it in. The only chance of renovation is to open our eyes and see the mess. It is not a mess you can make sense of.” Kojima Connection: Sometimes its not strictly about making sense of something, but feeling what you feel along the way of finding out that you’ll never really figure it out. “Not one person in a hundred knows how to be silent and listen, no, nor even to conceive what such a thing means. Yet only then can you detect, beyond the fatuous clamour, the silence of which the universe is made.” Kojima Connection: Only when you are silent can you see what the universe is. Sam is silent. Picking up what I’m putting down here? “Astride of a grave and a difficult birth. Down in the hole, lingeringly, the grave digger puts on the forceps. We have time to grow old. The air is full of our cries. But habit is a great deadener. At me, too, someone is looking, of me too someone is saying, He is sleeping, he knows nothing. Let him sleep on.” Kojima Connection: So many things. Growing old, as the pinned driver did. The air full of the CDT worker’s cries. And Sam’s emotionless, non-horrified, almost tired eyes. Could be sleeping, unaware of the horror around him? Could his silence be profound ignorance, or profound knowledge? And then, those who are watching, the invisible figures glimpsed in the rain… “And what I have, what I am, is enough, was always enough for me, and as far as my dear little sweet little future is concerned I have no qualms, I have a good time coming.” Kojima Connection: May as well be a core thought of Kojima in this post-Konami creatively liberated time :D “Where would I go, if I could go, who would I be, if I could be, what would I say, if I had a voice, who says this, saying it's me?” Kojima Connection: ‘You will be able to do whatever you want, and go wherever you want to go.’ “It's a lot to ask of one creature, it's a lot to ask, that he should first behave as if he were not, then as if he were, before being admitted to that peace where he neither is, nor is not, and where the language dies that permits of such expressions.” Kojima Connection: Things neither being or not being there, the insufficiency of words when it comes to exploring the literally unexplored/unexplainably sights and sounds of the universe (As we regularly see realised in his titles) “What was God doing with himself before the creation?” Kojima Connection: Could we learn that the giant creatures/hand-faces created the first explosion, and have returned, their ‘experiment having run its course’, to ‘pack up the lab’ and ‘shut everything down’? “No need of a story - a story is not compulsory, just a life. That’s the mistake I made, one of the mistakes, to have wanted a story for myself, whereas life alone is enough.” Kojima Connection: Can we say in all fairness that Story is Kojima’s life, and he’s truly simply channeling (unconsciously or consciously) “I cannot explain my plays. Each must find out for himself what is meant” Kojima Connection: Yup :P “Who am I to tell my private nightmares to if I can’t tell them to you?” Kojima Connection: Where else would he put these stories, that in so many ways film, tv and any other medium would fall short in telling them? “In my head there are several windows, that I do know…but perhaps it is always the same one, open variously on the parading universe?” ― Samuel Beckett, Molloy Kojima Connection: We are single windows (lives, consciousnesses) that are wide opening onto a swirling, eternal universe. “Confusion amounting to nothing, despite precautions. In the madhouse of the skull and nowhere else, where no more precautions to be taken. No precautions possible. If only all could be pure figment. Neither be, nor been.” Kojima Connection: No more precautions need to be taken. He is unconstrained, creatively and in life. “Yes, there is no denying it, any longer, it is not you who are dead, but all the others. That's my impression. But now I shall have to get myself out of this ditch. How joyfully I would vanish here, sinking deeper and deeper under the rains.” Kojima Connection: Even after what seems to clearly be major existential shifts, Kojima perseveres in expressing that journey within himself in the form of Death Stranding. “But what matter whether I was born or not, have lived or not, am dead or merely dying, I shall go on doing as I have always done, not knowing what it is I do, nor who I am, nor where I am, nor if I am. Yes, a little creature, I shall try and make a little creature, to hold in my arms, a little creature in my image, no matter what I say. And seeing what a poor thing I have made, or how like myself, I shall eat it. Then be alone a long time, unhappy, not knowing what my prayer should be nor to whom.” Kojima Connection: First and third trailer imagery (holding a little creature, baby, in one’s arms, and the colossi devouring the CDT worker) “What can it matter to me, that I succeed or fail ? The undertaking is none of mine, if they want me to succeed I'll fail, and vice versa, so as not to be rid of my tormentors.” Kojima: ‘Betray your audience.’ “To have been always what I am - and so changed from what I was.” Kojima: Post-Konami Kojima, to a T. “Form is content, content is form. You complain that this stuff is not written in plain English. It is not written at all. It is not to be read--or rather it is not only to be read. It is to be looked at and listened to. His writing is not about something; it is that something itself.” Kojima Connection: This describes fourth-wall breaking - yes, we’re playing a role within a game, but our doing so in the real world is part of the story. In fact, our playing Death Stranding is it’s story. Can’t wait to see how this concept manifests. “I take no sides. I am interested in the shape of ideas. There is a wonderful sentence in Augustine: "Do not despair; one the thieves was saved. Do not presume; one of the thieves was damned." That sentence has a wonderful shape. It is the shape that matters.” Kojima Connection: It cannot be argued that Kojima, creatively liberated as he is, is imagery driven first, and his great appreciation for storytelling takes it from there and embeds the imagery with meaning, as well as mystery. “That is what I find so wonderful, that not a day goes by....hardly a day, without some addition to one's knowledge however trifling, the addition I mean, provided one takes the pains.” Kojima Connection: This makes me think of Kojima’s eclectic-ness, and how all of his wide spectrum of interests feed into his life and process. “You may say ‘it is all in my head’, and indeed sometimes it seems to me I am in a head, and that these eight, no, six, these six planes that enclose me are made of solid bone. But thence to conclude the head is mine? No, never.” Kojima Connection: Kojima has discussed the idea of originality in interviews before, and he’s expressed how it can be a concern that when you’re in your ‘earth-bound’ or ‘human’ mode creatively, its easy to perceive barriers and limitations. But that’s not who we really are - the self isn’t physical or measurable. As Yoda put it, ‘luminous beings are we, not this crude matter.’ So no, that ‘head’, or when you’re stuck in your head, isn’t you. Your true self has no limitations of flesh or bone, and when you access and express that dimensionless, lawless plane of being, the stories that come therefrom are the truly worthwhile ones…the ones that question everything we think we know.’ “For I shall be far away, in a place where no one will dream of coming to look for me.” Kojima Connection: Mads character, able to hide from The Unseen, where they won’t look for him? Sam, retreating with the Cherub into the ocean? “But it is useless to dwell on this period of my life. If I go on long enough calling that my life I'll end up by believing it.” ― Samuel Beckett, Molloy Kojima Connection: Kojima on Konami. “When are they going to stop making me mean more than I say?” Kojima Connection: When Kojima pokes fun at those diving too deep into his works (cough cough :P) There is an end to the temptation of light - its polite scorchings & consolations. It is good for children & insects. There is an end of making up one's mind, an end of patting the butter of consciousness into opinions. The real consciousness is the chaos, a grey commotion of mind, with no premises or conclusions or problems or solutions or cases or judgments.” Kojima Connection: This makes me think of Kojima embracing his creative mind mess/chaos and ‘going for it’ with Death Stranding, fully unleashed. “From the meanest creature one departs wiser, richer, more conscious of one's blessings.” Kojima Connection: from the worst situation (Konami) one emerges a better and stronger, more mindful person. “The end is the beginning, and yet it continues.” **Kojima Connection: Self explanatory :P “Infinite emptiness will be all around you - All the resurrected dead of all the ages wouldn’t fill it, And there you’ll be - like a little bit of grit in the middle of the steppe.” Kojima Connection: Is Sam privy to the impermanence of reality, and so is able to weather such horrors unaffected? “Humanity ... is a two-bucket well. While one goes down to be filled, the other goes up to be emptied.” Kojima Connection: Death becomes life, life becomes death. Will this be interrupted, disrupted or tampered with in DS? “To every man his little cross. Till he dies, and is forgotten.” Kojima Connection: Sam’s umbilical cross scar. “Dead calm, then a murmur, a name, a murmured name, in doubt, in fear, in love, in fear, in doubt, wind of winter in the black boughs, a cold calm sea whitening whispering to the shore, stealing, hastening, swelling, passing, dying, from naught come, to naught gone.” Kojima Connection: Third trailer imagery. “That movements of an extreme complexity were taking place seemed certain… And yet, what a simple thing it seemed. That vast yellow light, sailing slowly behind my bars, And which, little by little, the dense wall devoured, and finally eclipsed. And now its tranquil course was written on the walls, a radiance scored with shadow, then a brief quivering of leaves, if they were leaves. Then that too went out, leaving me in the dark.” Kojima Connection: Third trailer imagery (quivering of dying leaves at the beginning, devouring, light eclipsing, the yellow light of the corpse’s mask “What a weary way, since that first disaster. What nerves torn from the heart of insentience, with the appertaining terror and the cerebellum on fire. It took him a long time to adapt himself to this excoriation.” Kojima Connection: Has Sam beheld the world as it has become, without the laws of physics and time, for longer than the others? Is he an ageless time-traveller, unaffected by death, because he has adapted to the pain and horror and incalculable/unexplainable anguish of this world without any bounds? “But what's all this about not being able to die, live, be born? That must have some bearing. All this about staying where you are, dying, living, being born, unable to go forwards or back, not knowing where you came from, or where you are, or where you're going, or that it's possible to be elsewhere, to be otherwise? Suppose nothing - asking yourself nothing? You can't - you're there.” Kojima Connection: When faced with such huge themes, such as the nature of reality, it would be easy to not be able to drive forward in any one linear direction in order to tell a story. The enormity of the subject matter has the potential to paralyse you into doing nothing. But Kojima, even faced with these grand ideas, cannot do nothing - He is there, in that moment, having lived the life he’s lived, and created what he’s created, and from that momentum…even more stripped down from that, the momentum we get inherently, just from breathing in and out…we cant ‘ask ourselves nothing’. We have to fill our minds with questions. Its in our nature - we cannot defy it. At least, as far as we know… “Yes, I was my father and I was my son, I asked myself questions and answered as best I could, I had it told to me evening after evening, the same old story I knew by heart and couldn't believe, or we walked together, hand in hand, silent, sunk in our worlds, each in his worlds, the hands forgotten in each other. That's how I've held out till now. And this evening again it seems to be working, I'm in my arms, I’m holding myself in my arms, without much tenderness, but faithfully, faithfully. Sleep now, as under that ancient lamp, all twined together, tired out with so much talking, so much listening, so much toil and play.” **Kojima Connection: Holding oneself in ones arms - the theory of the Cherubs being infant versions of their bearers. “Why this farce, day after day? One never knows. Last night I saw inside my breast. There was a big sore. Pah! You saw your heart? No, it was living. What's happening? Something is taking its course. What is it? We're not beginning to ... to ... mean something? Mean something! You and I, mean something! Ah that's a good one! Hm…I wonder.” Kojima Connection: The child within, the baby inside us all, knows how to live and smile instinctively. It’s only when we become adults that we struggle with meaning - but a child, well, they never question meaning, or even think about it at all. They just are, They just exist in that moment. Maybe it’s these children that can keep us from succumbing to the shadows? Maybe the child abandoned the despairing CDT worker, did its forward flip and recognised its host was giving himself to fear…a fear which is antithetical to what an innocent child is? “One day we were born, one day we shall die, the same day, the same second.” Kojima Connection: Gameplay? “Birth was the death of me” Kojima Connection: Again, Gameplay? “In other words, or perhaps another thing, whatever I said, it was never enough and always too much.” Kojima Connection: Kojima’s relationship with his audience. “Here, all is strange.” Kojima Connection: Yup! “I wandered in my mind, slowly, noting every detail of the labyrinth, its paths as familiar as those of my garden, and yet ever new, as empty as the heart could wish…or alive, with strange encounters.” Kojima Connection: Mads ‘labyrinthine’ quote, and the idea of ever-new, possibly procedural environments and enemies (tied to the idea of eternity, laws of physics being shattered) “There, at least, is a first affirmation - I mean negation - on which to build.” Kojima Connection: Right now, we can either build our ideas of Death Stranding off we have seen so far, or what we haven’t seen so far. “Hell itself, although eternal, dates from the revolt of Lucifer. It is therefore permissible, in the light of this distant analogy, to think of myself as being here for ever, but not as having been here for ever.” Kojima Connection: Sam may possibly be someone who has experienced eternity, but may also have been a man once for whom that was not always the case. “To know you can do better next time - unrecognisably better - and that there is no next time, and that it is a blessing that there is not…there is a thought to be going on with.” **Kojima Connection: ‘An explosion, which will be our last.’ What to do now? what shall I do now, what should I do, in my situation? How to proceed? By aporia, pure and simple? Or by affirmations and negations, invalidated just as they’re uttered, sooner or later? There must be other shifts. Otherwise it would be quite hopeless. But it is quite hopeless.” Kojima Connection: The search for meaning and definition which we can all relate to…who knows what Kojima is moving through emotionally and intellectually in order to be bringing us Death Stranding? I cant wait for the 4-disc blu-ray making of documentary of it all :D “We were all born mad. Some remain so.” Kojima Connection: We accuse children of being mad, crazy, acting stupid/thoughtlessly. But that is the creative spark. Kids are still relatively close and connected to their own creative big bang, aka their birth. They have that ‘sheen’ of madness, which indicates and evokes the madness/chaos they sprang from. The theory is that as we grow more and more distant from that first spark, we being to lose our ‘madness’, our sense of chaos/creativity. This is so for most folks. Not so with others - Kojima has firmly always embraced his ‘original/birthing chaos’, and keeps it close in/channels/taps into it for his creative endeavours, and life in general.’ “I'm no longer with these assassins, in this bed of terror, but in my distant refuge - My hands twined together, my head bowed, weak, breathless, calm, free, and older than I'll ever have been - If my calculations are correct. I'll tell my story in the past, none the less, as though it were a myth, or an old fable, For this evening I need another age in which I became what I was.” Kojima Connection: Could we see Sam narrating his story in the future? Could he finally, by the end of the tale, be allowed to age properly (if his calculations are correct, around his neck)…will he get home? Such will be his myth, the fable of Death Stranding, that will be told in 2018/2019. “What counts is to be in the world - the posture is immaterial, so long as one is on earth. To breathe is all that is required.” Kojima Connection: I firmly believe that your calling = what comes as easy to you as breathing, and is a labour and chore for almost anyone else. For Kojima, his ‘breathing’ is games development and creativity. For him, its as easy as breathing. “drill one hole after another into ‘language’ - until that which lurks behind, be it something or nothing, starts seeping through. I cannot imagine a higher goal for today’s writer.” Kojima Connection: Resonates with Kojima’s endeavour to redefine meanings, such as Death having a new meaning. “I don't know when I died. It always seemed to me I died old, about ninety years old, and what years, and that my body bore it out, from head to foot. But this evening, alone in my icy bed, I have the feeling I'll be older than the day, the night, when the sky with all its lights fell upon me, the same I had so often gazed on since my first stumblings on the distant earth. For I'm too frightened this evening to listen to myself rot, waiting for the great red lapses of the heart, the tear sings at the caecal walls, and for the slow killings to finish in my skull, the assaults on unshakable pillars, the fornications with corpses. So I'll tell myself a story, I'll try and tell myself another story, to try and calm myself, and it's there I feel I'll be old, old, even older than the day I fell, calling for help, and it came. Or is it possible that in this story I have come back to life, after my death? No, it's not like me to come back to life, after my death.” Kojima Connection: I can hear Norman’s Sam saying any of this. Just saying. So much for the inviolable zenith, that - for amateurs of myth - lies hidden. A way out to earth and sky.” Kojima Connection: Though we may, including Kojima, endeavour to explore these mysteries, they will always be unknown to us - we simply don’t have the cognitive capacity to conceive of anything beyond what our flesh-bound minds can imagine. The act of attempting to defy that sure fills one with purpose though, and truly, who knows if that may end up leading to something new? Faking it till we make it? “And perhaps he has come to that stage of his instant (life) - When to live is to wander, the last of the living, in the depths of an instant without bounds, where the light never changes, and the wrecks look all alike.” Kojima Connection: Is Sam unaffected by the CDT worker’s death, because he has seen it an infinite number of times before? Like Rick, from Rick and Morty - numb and uncaring? “For I had no illusions, I knew that all was about to end, or to begin again, it little mattered which, and it little mattered how. I had only to wait.” Kojima Connection: Sam’s thoughts? “Whether all grows black, or all grows bright, or all remains grey, it is grey we need to begin with, because of what it is, and of what it can do. Made of bright and black, able to shed the former, or the latter, and be the latter or the former, alone…” Kojima Connection: Perhaps it is a delusion to think we can achieve balance? Did BRIDGES really think they could create stable and infallible passages to other worlds? Its not in our nature to be balanced… “The third, the dark, was a flux of forms, a perpetual coming together and falling asunder of forms. The light contained the docile elements of a new manifold, the world of the body broken up into the pieces of a toy; the half-light, the states of peace. But the dark has neither elements nor states - nothing but forms, becoming and crumbling into the fragments of a new becoming…without love, or hate, or any intelligible principle of change. Here there was nothing but commotion and the pure forms of commotion. Here he was not free, but a mote in the dark of absolute freedom. He did not move, he was a point in the ceaseless unconditioned generalisation and passing away of line.” Kojima Connection: BRIDGES deluded themselves into thinking that by accessing the boundary-free void, that we ourselves could be as free. But no. We are just lost within that freedom now, and now it has seen us, spotted us, and realised we are like any other void plankton…food to be consumed. “It’s extraordinary how mathematics help you to know yourself.” Kojima Connection: Will Sam’s equations help him to remember who he is, across the dimensions of time and space and memory? “I shall not speak of my sufferings. Cowering deep down among them, I feel nothing. It is there I die, unbeknown to my stupid flesh. That which is seen, that which cries and writhes…my witless remains. Somewhere in this turmoil, thought struggles on, it, too, wide of the mark. It, too, seeks me, as it always has, where I am not to be found. It too cannot be quiet. On others let it wreak its dying rage, and leave me in peace.” Kojima Connection: Sam lets the monster wreak their rage on the others, while he retreats with his inner child to the peaceful sea. He does not let thought find him, for a thought would lead to worry, and worry to fear, and fear to terror, which the monsters feed upon. “It will be the same silence, the same as ever, murmurous with muted lamentation, panting and exhaling of impossible sorrow, like distant laughter, and brief spells of hush, as of one buried before his time. Long or short, the same silence. Then I resurrect and begin again.” Kojima Connection: Sam’s thoughts as the CDT team member is picked out of the air, like a crumb of food, for the colossi. Meanwhile Sam, unaffected, knows…there will be resurrection. “In a flicker of my lids, whole days have flown.” Kojima Connection: The flickering lights, and the rapid raging of the pinned CDT driver. “Monstrous extremities, including skulls, stunted legs and trunks…monstrous arms. Stunted faces.” Kojima Connection: The monsters. “The forms are many in which the unchanging seeks relief from its formlessness.” Kojima Connection: Death Stranding is an expression of an essentially formless, and forever to be intangible, idea…it is one of the many forms that these intangible subjects seek to find relief from their inherent inexplicability. “And on the threshold of being, no more do I succeed in being another.” Kojima Connection: Kojima, even when pushed to the brink by Konami, cannot be anyone other than himself. The experience has not altered his core, and he proceeds in creating Death Stranding closer to his own core than ever before. “That is why nothing appears - All is silent, and one is frightened to be born. No, one wishes one were - So as to begin to die.” Kojima Connection: Here Beckett is half mocking, half admitting, the core question of life - why go on? Why keep living? Why **keep coming? Well, because the lead up to death is, ironically, the most beautiful part of life (ie., living life itself)** “And I seemed to see myself ageing as swiftly as a day-fly. But the idea of ageing was not exactly the one which offered itself to me. And what I saw was more like a crumbling…a frenzied collapsing of all that had always protected me from all I was always condemned to be.” Kojima Connection: The inner dialogue of the CDT worker. He knows he’s not ageing, though it feels like it - he is being siphoned of nutrients by interdimensional beings “And in spite of all the pains I had lavished on these problems, I was, more than ever, stupefied by the complexity of this innumerable dance, involving, doubtless, other determinants of which I had not the slightest idea. And I said, with rapture, ‘Here is something I can study all my life, and never understand.’” Kojima Connection: Something all creators including Kojima can relate to…what we depict and attempt to express is infinitely complex, and therein lies the intrigue and the attraction. Knowing we’ll never fully grasp it…keeps us intrigued and humble at the same time.
2017.12.09 07:46 the-great-beyondWhat Tomorrow Brings: PlayStation Experience 2017 Kicks Off
PSX 2017, PlayStation's annual trade-show, kicked-off in Anaheim, California a couple hours ago, and is streaming live for those not in attendance. Start here for the full schedule and additional streaming info. Or just go to PlayStation's YouTube channel to watch. Earlier tonight, gaming VIPs stopped by for exclusive reveals, such as Hideo Kojima, who briefly chatted about his upcoming Death Stranding, a much-anticipated directorial joint starring Norman Reedus and Mads Mikkelsen. Tomorrow -- Saturday, December 9 at 6:30pm (Pacific Time) -- TLOU fans will be treated to a panel featuring assorted cast and directors/writers, hosted by Hannah Hart, with the official text here:
Join Naughty Dog and the cast of The Last of Us Part II as they discuss the making of the cutscene teaser trailer that was revealed just a few short weeks ago at Paris Games Week. Director and writer, Neil Druckmann, co-writer Halley Gross, and key members of the game’s cast discuss the writing process, casting, performance capture, and more with moderator Hannah Hart! For those attending the event, there will also be a signing session following the panel.
My predictions? PlayStation's upcoming apocalypse/zombie title, Days Gone, rolls-out in 2018, so from a solid marketing angle, it's probable that TLOU2 will be in 2019 so as not to steal its thunder -- tho that also depends on which quarter it launches. I find it curious that the official panel blurb specifically mentions that the controversial cut scene trailer will be discussed. When it had premiered at Paris Games Week last month, it aroused criticism for its in medias res, uncontextualized ultra-violence. Discussion as damage control? Regardless, it will likely compel the announcement of Laura Bailey's new character -- whether it's Anna, Ellie's mother, or someone else important to her such as her partner -- as to contextualize Gross's unflinching, balls-to-the-wall reroute from Druckmann's heretofore understated elegance. Until tomorrow! Happy gaming...
2017.12.08 09:43 a_la_claudeI feel like this game is basically going to turn out to be Kojima's version of Akira
Sorry if other people have brought some of these things up beforehand, I've been thinking about this trailer a lot and I'd really like to bounce some ideas off and theorize. So yeah, I can't shake the feeling that Death Stranding is Kojima's version of Katsuhiro Otomo's Akira, with the baby being a facsimile of the titular character Just to cover my bases for anyone unfamiliar, this will contain spoilers for Akira. Because of the parallels I'm noticing between the two works, I find it necessary to describe certain plot details of the manga (and to some extent the anime movie which took some liberties with the source material as it only adapted a third of the original). Please take this into account if you want to avoid such spoilers Moving along, the baby, a facsimile of Akira, can and probably will end all of life/existence by bending spacetime in on itself (or something). Mads and his troops want to exploit its power for his own goals, maybe they feel they have ownership over the child because they are perhaps responsible for its creation (not unlike the Colonel and his military in Akira who developed a series of psionic children as next generation military weapons ). Reedus and Del Toro are playing keepaway, both having some sort of scientific connection to it (though the former definitely having a more personal one) Or maybe Mads and his crew have a deeper connection to the baby than we're first led to believe. We see him in this trailer doing the same motions he'd done in the second trailer when ordering his troops. Maybe there's a greater connection between Mads, his soldiers, and the other-dimensional beings that were leaving prints on the ground Whatever its origins may be, the baby is definitely connected to those other-dimensional beings. This is supported by the baby disappearing in Reedus' arms in the first trailer, after which it crawls away leaving tiny hand prints reminiscent of the bigger ones we saw in this trailer. That giant humanoid that explodes (NEO TOKYO IS ABOUT TO EXPLODE, ahem, we'll get to the crater in a bit...) seems to be the "final form" of the baby and whatever those other things leaving prints are The blinker on Reedus and his partner's (?) suits is some sort of trans-dimensional detection system, pretty obvious by how they went out of control once the handprints started showing up. The guy Reedus' partner was trying to save was aging at a severely accelerated rate due to spacetime collapsing around them (the suits they wear seem to help against that since Reedus and his partner were fine), due to the appearance of those dimensional beings The baby container's shaped like a sarcophagus, early in this trailer we see Norman Reedus' character comes across a mummy that gets spirited away, not really sure what to make of that connection just yet The baby was shown living inside of Reedus. In the first trailer we see a cross shaped scar on his stomach, so at some point he "births" it via c-section There's a floating car door that says "Bridges: United States of (obscured lettering)," shows the US covered in a web shaped pattern, interesting little world building tidbit that gives some insight into what the situation was pre-apocalypse Getting back to the crater that Reedus stands at the edge of, it reminded me a whole lot of the giant crater where Tokyo used to stand (http://i.imgur.com/aPSTd.jpg). The giant hand print at the center corroborates that the giant humanoid figure is responsible for the explosion, reminiscent of how Akira, who was responsible for the destruction of Tokyo, was kept in an underground base underneath the crater After the explosion we see Reedus submerged in water. Similarly in Akira there is tons of water, biblical proportions of it, raining down and flooding Neo Tokyo every time he creates an explosion due to severe atmospheric changes. On the subject of water, there's a general theme of sea life throughout all the trailers, dead in the first two trailers and alive in this one. The first signs of life on Earth began with the sea and it seems only fitting that the first signs of death would also begin with it (this trailer taking place before the first and overlapping with the second) That's more or less everything though I'm sure there's way more. It's almost 4AM so I think I'll call it a night and wrap things up here. Let me know what you think!
2017.12.08 08:53 a_la_claudeThis game is basically Kojima's Akira, some thoughts, theories, and observations after watching the new trailer (and subsequently rewatching the other two)
Sorry if other people have brought some of these things up beforehand, I've been thinking about this trailer a lot and I'd really like to bounce some ideas off and theorize So yeah, I can't shake the feeling that Death Stranding is Kojima's version of Katsuhiro Otomo's Akira, with the baby being a facsimile of the titular character Just to cover my bases for anyone unfamiliar, this will contain spoilers for Akira. Because of the parallels I'm noticing between the two works, I find it necessary to describe certain plot details of the manga (and to some extent the anime movie which took some liberties with the source material as it only adapted a third of the original). Please take this into account if you want to avoid such spoilers Moving along, the baby, a facsimile of Akira, can and probably will end all of life/existence by bending spacetime in on itself (or something). Mads and his troops want to exploit its power for his own goals, maybe they feel they have ownership over the child because they are perhaps responsible for its creation (not unlike the Colonel and his military in Akira who developed a series of psionic children as next generation military weapons). Reedus and Del Toro are playing keepaway, both having some sort of scientific connection to it (though the former definitely having a more personal one) Or maybe Mads and his crew have a deeper connection to the baby than we're first led to believe. We see him in this trailer doing the same motions he'd done in the second trailer when ordering his troops. Maybe there's a greater connection between Mads, his soldiers, and the other-dimensional beings that were leaving prints on the ground Whatever its origins may be, the baby is definitely connected to those other-dimensional beings. This is supported by the baby disappearing in Reedus' arms in the first trailer, after which it crawls away leaving tiny hand prints reminiscent of the bigger ones we saw in this trailer. That giant humanoid that explodes (NEO TOKYO IS ABOUT TO EXPLODE, ahem, we'll get to the crater in a bit...) seems to be the "final form" of the baby and whatever those other things leaving prints are The blinker on Reedus and his partner's (?) suits is some sort of trans-dimensional detection system, pretty obvious by how they went out of control once the handprints started showing up. The guy Reedus' partner was trying to save was aging at a severely accelerated rate due to spacetime collapsing around them (the suits they wear seem to help against that since Reedus and his partner were fine), due to the appearance of those dimensional beings The baby container's shaped like a sarcophagus, early in this trailer we see Norman Reedus' character comes across a mummy that gets spirited away, not really sure what to make of that connection just yet The baby was shown living inside of Reedus. In the first trailer we see a cross shaped scar on his stomach, so at some point he "births" it via c-section There's a floating car door that says "Bridges: United States of (obscured lettering)," shows the US covered in a web shaped pattern, interesting little world building tidbit that gives some insight into what the situation was pre-apocalypse Getting back to the crater that Reedus stands at the edge of, it reminded me a whole lot of the giant crater where Tokyo used to stand (http://i.imgur.com/aPSTd.jpg). The giant hand print at the center corroborates that the giant humanoid figure is responsible for the explosion, reminiscent of how Akira, who was responsible for the destruction of Tokyo, was kept in an underground base underneath the crater After the explosion we see Reedus submerged in water. Similarly in Akira there is tons of water, biblical proportions of it, raining down and flooding Neo Tokyo every time he creates an explosion due to severe atmospheric changes. On the subject of water, there's a general theme of sea life throughout all the trailers, dead in the first two trailers and alive in this one. The first signs of life on Earth began with the sea and it seems only fitting that the first signs of death would also begin with it (this trailer taking place before the first two trailers before it) So yeah, that's more or less everything though I'm sure there's way more. It's almost 3AM so I think I'll call it a night and wrap things up here. Let me know what you think!
2017.12.08 07:52 Lost_StrangerealObservations and questions with the new trailer
The new trailer for death stranding has finally landed and it's impressed everyone with a big and capital WTF in their heads. It's time for speculation time!
Once there was an explosion... a bang which gave birth to time, and space. Once there was an explosion... a bang which set a planet spinning that space. Once there was an explosion... a bang which gave rise to life as we know it. And then, came the next explosion...
This entry dialogue describes an "explosion" which sets off the birth of something. Space-time led to a planet, planets led to life, and it seems that life will give lead to something completely new; a whole, brand new creature/thing. Could it be artificial intelligence? Artificial intelligence would likely be considered to be under the category of life... but life as we know it? Perhaps not! The next few seconds is a shot that pans up to Norman Reedus. Note how there are tiny, primitive forms of life (plants) as it pans, but they do not cover the rest of the land. They also seem to disappear later on the trailer. Norman is wearing a suit that has the word PORTER written on it. Is Porter the name of Norman's character? Is Porter the name of another company? Norman does not wear the same outfit as the other two humans in the scene; it's then safe to assume then, that he is probably not an employee or whatever of BRIDGES, but is affiliated with them somehow. Norman struggles to move over to what looks to be like a preserved Mummy-like thing. Could this have been an archeological mission? Were the three tasked to retrieve this mummy from somewhere? Though the land seemed to be barren, we did see plants earlier, there is weather similar to earth, and the characters do not need any breathing apparatuses. This seems to suggest that they are either on Earth, or an earth-like planet somewhere else in the cosmos; although the previous two trailers seem to suggest that there is no technology that has been developed for interstellar travel yet. Next we get a close up of the two men in orange uniforms. They both have the BRIDGES emblem on their shoulders, suggesting that they work for this company. In the 2nd trailer, we also see the BRIDGES pin on the fat executive looking guy's tuxedo. BRIDGES is probably a key figure in this game. Maybe they helped contribute to the "explosion" mentioned earlier in the monologue? Shit, they're here! The 4 pin thingy (?????) starts to react and it seems like the BRIDGE folks are aware of this invisible "entity" that is roaming around. It looks like the 4 pin thing was designed for this very purpose; to detect these entities. This would suggest that BRIDGES probably had something to do with these black oil entities, or else they would not develop specific technology to detect them, or even know how to. SAM! Shut up, don't even breath We now know that Norman's character's name is SAM. We also know that the BRIDGES employee are not very knowledgeable about these entities; otherwise they wouldn't need Sam to tell them to "not even breath". Does Sam know about these entities? Did he help create them in the first place? The BRIDGES employees also have this colored ring around their wrists that seem to be an indicator of their health. As seen here, the guy who's leg got crushed has an orange light, symbolizing he's close to dying, while his partner has a blue light. Later on when the guy stabs himself to death, the light goes from blue to yellow to orange, and then red. Sam doesn't have this wrist light. Then we see the black entity engulf the mummy figure and see it evapourate. The skull seemed to be made of gold, yet it dissolved anyway. It doesn't look like anything can stop this black entity. The black entity approaches Sam and he desperately tries to get away. It only grazes him, yet one of his foot nearly dissolves. That must hurt like shit! Yet he keeps his calm and hides his presence to the black entity. The guy behind him chooses to not listen to Sam's earlier suggestion and screams out instead - not the best idea. This is probably not Sam's first encounter with these entities. The guy who screams get dragged away and his partner shoots him. Maybe death was the best for that guy? Could it be that the black entity strands him between life and death? When he dies, the 4 pin sensor also stops detecting anything, suggesting that this black entity is closely tied to human life. Without human life, it ceases to exist. Next we see Darth Vador probably Mads' character. He does the signature finger pointing thing that was seen in the 2nd trailer, and seems to have a 3-pin thing on his shoulder similar to the 4 pin detector thing. Perhaps it was an earlier iteration? It's also orange, but that might just be aesthetics. The finger guns disable the 4 pin detector on the dude's suit, leaving him blind to the black entities surrounding him. He then panics and starts shooting sporadically as the black entity engulfs him. How come Mads didn't shoot Sam as well? Was it because he kept quiet this entire time and "hid" his presence? Could Mads be a human manifestation of the black entity? He seems to have the power to control it. If that's the case, then it would make sense that maybe Mads didn't sense Sam's presence there. The other BRIDGES guy tries to kill himself but fails. Being captured by the black entity seems like a consequence that's worst than death. He lives to see himself being pulled in by the giant; and then a huge explosion happens. Sam picks up the baby, and his own 4-pin detector thing spins up. Is the baby a power source? Could the baby be what detects the black entity? In the 2nd trailer, the executive guy also reluctantly connects the baby to himself when the black goo approached him. Could babies be a valuable resource in the game? Then we cut to the ocean. A brief moment passes and we're shown that some black stuff is embeded onto his skin. In the first trailer, his body was full of marks like these; but here, his body seems to be relatively clean. This could mean that the events of this trailer takes place before the first trailer. A giant wtf swims across the surface of the ocean. As another redditor has pointed out, all the fish are swimming upside down for some reason. We then catch a glimpse of the BRIDGES logo. Interesting that it says United Cities of somewhere. It's likely that it's America, although the picture was not clear. To reflect this, the would be country of USA (UCA?) is not divided into states but what appears to be a web structure. Each connection point could be one of the "cities". The center point of the web also has a giant chunk of land that seems to be missing when compared to a USA map. Could this have been the explosion that was mentioned earlier? If so, that's a huge fucking explosion to leave a dent on the map like that. Was New York City the epicenter? My US geography is not that good, if anyone could point out where that is we might be able to get somewhere. Then we get that weird baby scene. It seems like Sam actually died in the explosion just a bit prior, but since the baby was there, he was revived. The baby is now full of black goo, maybe it died or lost it's use. We then see a huge crater before him, probably from the giant explosion. No way he survived that, for sure. And then came the next explosion... an explosion that will be our last. So far this trailer leaves a lot more questions than answers.
Mads is probably the antagonist
BRIDGES has something to do with the black entities. Could it have been developing weapons?
Babies are probably a form of resource
This likely takes place on Earth
What are the 5 men in the air?
why do fish swim upside down? Why is marine life dead in the other trailers?
Is there time travel? how is Mads seen in World War 2 in the previous trailer?
2017.01.30 19:30 boogiewoThe sci-fi manga of hoshino yukinobu - possible death stranding influence and a theory
https://twitter.com/HIDEO_KOJIMA_EN/status/538143186086948866 I saw this old Kojima tweet so checked out some of the Y. Hoshino sci-fi anthologies online. He has made quite a few of these books full of short heavy-sci-fi stories and found some interesting ideas that could have served as inspiration for Death Stranding. In one of the stories in his book Stardust Memories a biologist finds herself stranded on a planet and discovers that the planet speeds up the growth of organisms, including herself. Her only option is to clone herself and raise the child to do the same thing until enough years pass for a rescue ship to come. A similar idea exists in the world of Moon by Duncan Jones. Now in the context of Death Stranding and Kojima claiming the game will do something nobody has seen before, could it be that a similar concept will be applied to gameplay as well as the story? The player as Reedus, helplessly stranded on what could be a ruined Earth or another planet/dimension and the only way to complete the mission is by replicating yourself. The concept of a rope as a tool for keeping things close - you are tethered to your infant clone by cable and have to protect them until they are old enough to continue your mission and the Reedus you previously played as dies. "I'll Keep Coming". This would explain why Reedus is so upset on seeing the baby, knowing he has essentially doomed it to the same world and doomed it to repeat his actions. The flipside to this could be the ability to manipulate your previous corpses using the strands much like Mads' character. A ghoulish take on AI partners. If you want to check out the Hoshino manga Viz put out 2001 Nights and manga reading sites have the ones not available in the West.
2016.03.15 21:37 whatwasitagainhuhsupermodel Helena Christensen?
Norm has been linked romantically to models Elle Macpherson and Helena Christensen. (The relationship with Elle has been confirmed by Artie Lange and Norm's former assistant. I believe they dated in 1996 and 1997.) Does anyone know about the Helena rumor? (Helena's former partner is the actor Norman Reedus, so she must have a thing for cynical, reedy, blue-eyed men named Norm)
2015.10.23 00:12 ShaunaDorothyBlack in Blue: the Troubled Legacy of Chicago’s Black Cops
When the Afro-American Patrolmen’s League was founded in 1968, it sought to be a buffer between the Chicago Police Department and the city’s African-American community. The nascent Black Power movement was transforming the consciousness of black youth, and in response to police violence, African-Americans were demanding a voice in policing. “This was at the time of the Black Panther Party, and I stressed we lived in the community, we did not live outside the community,” said Edward “Buzz” Palmer, among the founders of the League. “We had to protect the black community because it was where we lived.’’ Now, as then, being an African-American police officer — black in blue — can be a contentious choice in a community that is in a tug-of-war over police conduct. African-Americans are 25 percent of Chicago’s police force; the population is about one-third black. The trial of Police Commander Glenn Evans, which is scheduled to begin in December, highlights divisions in neighborhoods where crime is often highest and police misconduct complaints are frequent. Evans, a 28-year veteran of the Police Department, is accused of shoving the barrel of a gun down a man’s throat while simultaneously holding a stun gun to his genitals. He has pleaded not guilty to two counts of aggravated battery and seven counts of official misconduct. The national discussion of police violence against civilians is cast in black and white – black victims, white aggressors. But the man Evans is accused of abusing, Rickey Williams, is also black, adding another layer to a racialized narrative of police abuse. “You have one side of the community supporting what [Evans] does, saying, ‘Yeah, get all those gangbangers off the streets, while you have another part of the community saying, ‘Hey, maybe they did something wrong, but that isn’t any reason to violate their constitutional rights.”‘ said Pat Hill, who retired from the police force in 2007 and is the former executive director of the African American Police League, formerly the Afro-American Patrolmen’s League. For Hill and Palmer, who fought to wear the badge and for respect within the Police Department, Evans’ story stains the legacy they had hoped to foster. But for some advocates for police reform, the race of a police officer never mattered. “The [Black Youth Project 100] doesn’t differentiate between black police officers and white police officers,” said Janae Bonsu, Chicago co-chair of the group, which has organized several protests against police department policies. “The institution of policing is inherently oppressive. As a black cop or brown cop, you are in a position of power over the group of people you are policing. Black police antagonize us. Black police still profile us.” ‘He keeps doing it because it gets rewarded’ Like many black police officers, Evans worked in predominantly African-American districts on the city’s South and West sides. Despite an unprecedented number of complaints, he moved up the ranks. Between January 2006 and July 2014, 36 complaints were filed against Evans; still he was steadily promoted, eventually becoming commander of the Grand Crossing police district. Only 34 officers in the department have chalked up more complaints against them than Evans, and no one at his level has more, according a Chicago Tribune investigation. Hill, who knows Evans, says the black community is divided over his tactics. “His stuff is blatant, and he keeps doing it because it gets rewarded,” she said. “I can guarantee you if by some mistake they made him a commander in Bridgeport (a white community), he would not do that stuff.” The black community complains that police don’t make a distinction between law-abiding citizens and criminals, Hill said. Yet “anybody can come into our community and do anything” because people don’t demand respect. “Black officers are in a very precarious position. They lack stability and known standards and expectations coming out of our community,” said Hill, adding that the City Council black caucus should be a part of setting those standards. “All we know is we don’t want the police to beat us up and shoot us. That is the only message that comes out of our community.” Frank Chapman, of the Chicago Alliance against Racist and Political Repression, said the structure of police departments, which he describes as “paramilitary organizations,” prevent black officers from acting differently. “A lot of black police throughout the country formed their own associations in the late ’60s and the ’70s,” he said, “and that was because they wanted to fight the racism inside of the institution itself—an institution that is occupying your community and you are a member of it.” For all the good work of the League, which disbanded in 2012, the organization didn’t create a movement for change among black officers, Chapman said. “You have to follow orders.” ‘The watermelon watch’ When the League was formed, it was considered a community organization. Its motto reflected that: “We support the black community.” In the early 1970s, the organization morphed into a union for black police officers, according to Hill, and it began pushing for parity. Patrol cars weren’t integrated. Black officers’ assignments could change at a moment’s notice, and they started their shifts later than white officers. African-American cops called the practice “the watermelon watch.” In 1973, the League sued the city and the Police Department in federal court for discrimination in hiring, promotions and assignments. The city was confronted with a series of lawsuits, and, at one point, federal funding for the police force was withheld. In 1976, federal Judge Prentice Marshall ruled that the Chicago Police Department needed to promote more minorities and women. Today, black police officers are afraid to speak out about departmental issues, Hill said, adding that she noticed that as early as 2012 when they decided the League was no longer needed. Their perception that they will be punished for talking about departmental conditions, especially to the media, is not true, she said. David (pronounced Daveed) Lemieux joined the Police Department in 1982. “A lot of Negroes, and I use that word deliberately, were afraid to join the League,” he said. “I joined right away.” A year later, Harold Washington became the city’s first black mayor. There was an immediate difference in the department, said Lemieux, an actor who gained acclaim for his role as Pretty Willie in the 1973 film “The Spook who Sat by the Door.” Washington made a concerted effort to increase the number of African-American police supervisors. His actions, Lemieux said, prompted many white officers to transfer from the 3rd District, where he was stationed and later where Evans was a commander, to other districts. He said the white officers who remained had always been respectful of the residents in the district, which encompasses 60th to 75th streets and the Dan Ryan Expressway to Lake Michigan. Previously, the white officers were assigned east of Stony Island Avenue in what Lemieux described as an informal policy. “They called that the ‘safe part’ of the district,” he said chuckling. The remainder of the white officers who didn’t want to work in the district transferred when Washington was reelected. “That eliminated police going out hunting black boys. That eliminated the contempt that so many [black residents] held for the police who were occupying an area,” said Lemieux. Long before they met, Lemieux and his long-time patrol partner, Gerald Hamilton, shared a commitment to advocating for African-American residents and mitigating the abuse so many were experiencing at the hands of white officers. “When we worked in the community, you might be having Sunday breakfast with your family at Army and Lou’s,” he said, referring to a former soul food restaurant on East 75th Street. “Using commonsense you shouldn’t mess over people you are going to see. I am not afraid of my own people. I love my people.” Hamilton said many African-American officers didn’t agree with Lemieux. “When I joined, I said I am my brother’s keeper.” But for many of his peers, he said, “The blue often overrode the black.” ‘The police are the public’ A police department that is representative of the community matters, according to experts who study police-community relations. “One of the most fundamental principles of policing is that the police are the public and the public are the police,” said Craig Futterman, a clinical professor of law at the University of Chicago and founder of the Civil Rights and Police Accountability Project at the university’s Mandel Legal Aid Clinic. “When you have a police department that doesn’t look like the public they serve that dramatizes the police-community divide.” Recruitment and promotion of officers of color have dogged the Chicago Police Department for decades as city leaders have attempted to create a department that mirrors the population, which is about one-third white, African-American and Latino. The police department is 52 percent white, 19 percent Latino and 25 percent black, according to 2013 Law Enforcement Management and Administrative Statistics, Bureau of Justice Statistics. In recent years, the city has grappled with how to increase those numbers and in September awarded a contract to a firm to boost minority recruitment in the police department. For the past four years, Futterman has been talking to high school students, many of them African-American, about their experiences with police officers. “Those who spoke most positively about the police were those who feel the officers could identify with their experiences,” he said. “We saw some build positive relationships based on their ability to understand and empathize … Some students even saw [the police officers] as role models.” The departments that reflect the community send a message of equity and fairness, said Futterman, and that “promotes legitimacy and principles of justice.” Chapman said legitimacy comes through community oversight of the police department. The Chicago Alliance against Racist and Political Repression proposes to dismantle the city agencies responsible for investigating allegations of police wrongdoing, including the Independent Police Review Authority, and replace them with an elected Citizens Police Accountability Council. “They [local elected officials] have to let the people in the community control the police,” Chapman said, adding that IPRA and other bodies are “cover up agencies for the police.” Bonsu, of the Black Youth Project 100, said her organization doesn’t condone increasing the number of officers in neighborhoods. The high arrest figures for marijuana possession among the city’s African-Americans indicate that police of all colors are profiling and performing “over-surveillance” in the black community, she said. No matter the race of the officer, Bonsu said, “Black people are systematically criminalized in Chicago.” This article originally appeared in the Chicago Reporter. Glenn Reedus is an independent journalist.
Greetings folks! For those unaware, this is a weekly series of posts that provide a TL;DW to Twitch's Friday talk show, Twitch Weekly! I used to love reading u/Jikkircraft 's posts about the show earlier this year, but it seems that they no longer have the time to make these, so with the mods' blessings, I'm filling in! Without further ado, here's this week's summary for Twitch Weeky 10/16/2015: Intro
Thank you! IronE (Irony) which means that which is not expected. I've termed to also mean, "an Eagle in flight with an unbroken spirit." Statistics said that because of my background I would be dead by between the ages of 18 and 21 but destiny/fate begged to differ. I elaborate in my book: Link to www.ironesingleton.com and my one man show: Link to www.ironesingleton.com
My book, Blindsided by the Walking Dead Link to www.ironesingleton.com ... and my one man show, inspired by my book where I play 18 different characters and touch on topics such as: • Relationships; the tendencies and thought process of a man • AIDS awareness and prevention • Coping with adversity • Cultural differences and adaptation • Social and self awareness • Leadership & responsibility • Communication alternatives to violence Link to www.ironesingleton.com
Thanks!!! Almost anything. It's all about perspective. Growing up in the projects I had to laugh to keep from crying. Given that situation I think I adjusted my perspective to where laughter was the remedy for all my pain.
Yes I'm ticklish if I want to be. It varies. Hahahaha ... Yes it did and lol.
Rocky for movie. Too many TV shows to count in my past but TWD is my favorite today.
My book, Blindsided by the Walking Dead Link to www.ironesingleton.com ... and my one man show, inspired by my book where I play 18 different characters and touch on topics such as: • Relationships; the tendencies and thought process of a man • AIDS awareness and prevention • Coping with adversity • Cultural differences and adaptation • Social and self awareness • Leadership & responsibility • Communication alternatives to violence Link to www.ironesingleton.com
Know that the formula to success is when preparation meets opportunity. It is all about your drive, talent and ambition. Don't just wait on others to provide opportunities. You create them for yourself as well. Write, produce, direct, act...whatever talents you have, put them to good use and find a way to get exposure. Never quit and do it all with truth and love in your heart.
Thank you!! It's an incredible feeling. Especially when you didn't see it coming. I love the show! I think they would be in better shape if everyone were alive. Power is in numbers. The more people the more protected we are against the zombies.
I think he emulated bad behavior he had seen as a child. He was a product of his environment who could have turned out much differently given better circumstances/opportunities such as those given to "Big Mike." Given the environment I'm from, "Big Mike" could have easily been the character I played and the character I played, just as easily could have been "Big Mike." Therefore I have decided to do my part in partnering with a theatre group, Young Voices United, now entitled "IronE presents...Young Voices United" Link to www.youngvoicesunited.com to see that others are given opportunities to help broaden their minds and don't waste their lives on the wrong influences and become frowned upon like my character "Alton" from the Blind Side.
Thank you! IronE (Irony) which means that which is not expected. I've termed to also mean, "an Eagle in flight with an unbroken spirit." Statistics said that because of my background I would be dead by between the ages of 18 and 21 but destiny/fate begged to differ. I elaborate in my book: Link to www.ironesingleton.com and my one man show: Link to www.ironesingleton.com
I love him just as I love everyone else in the world. However, I do not acknowledge nor condone ANY negativity that might surface in the world. It is counter productive and takes away from my mission in this life. And that is to live a life steeped in truth and love.
Numb but not surprised because I was told I would only do 1 or 2 episodes but I ended up going into 3 seasons. So I always felt that T-Dog was living on borrowed time. It was truly a blessing to have been a part of the biggest show in cable television history. It presented an opportunity for me to write my book, Blindsided by the Walking Dead Link to www.ironesingleton.com ... and my one man show Link to www.ironesingleton.com
Thank you so much! It's all about helping to create the world you want to live in. My goal is to do that by inspiring others weather it is through a simple phone call to your brother or a movie that is viewed by millions. Every little bit counts. Truth and Love! Link to www.ironesingleton.comLink to www.ironesingleton.com
Numb but not surprised because I was told I would only do 1 or 2 episodes but I ended up going into 3 seasons. So I always felt that T-Dog was living on borrowed time. It was truly a blessing to have been a part of the biggest show in cable television history. It presented an opportunity for me to write my book, Blindsided by the Walking Dead Link to www.ironesingleton.com ... and my one man show Link to www.ironesingleton.com
I have lyrics and chords on the iPad they let us bring on stage. if a song i dont know gets requested a lot, i'm losing money by not knowing it, so i learn it. but sometimes, if i really love a song, i learn it. the last song i learned bc i liked it was "Diane Young" (from the new vampire weekend record). sounds fucking great on piano too.
One friday night about a year ago, i was singing "hotel california" to the piano bar full of people (i think it was around superbowl time. totally packed). anyways, i get to the line in the song "they stab it full of steely knives, but they just cant kill the BEAST." As soon as I say the word "Beast," all of the lights in the room go out. Pitch darkness.
Everyone starts to freak out, yelling, spilling drinks, trying to head for the exit but theres no light, glass everywhere.
Turns out it was a result of a black out in the entire french quarter. Everyone had to leave, because power wouldn't be restored for hours.
Apart from that, Mario Lopez was in the piano bar last night, so i guess that's just as crazy (AC Slater requesting "tiny dancer"). I got douche chills..
The application process involved me calling the GM every day for like a month, telling him i'd play for free for a week, etc. i was pretty persistent (read: annoying) i initially didn't get the job, and had to move to pennsylvania for a few years bc of hurricane katrina. when i got back, the GM called me to play, so i found a replacement piano player for the casino gig i was at, & drove straight there from mississippi. been there ever since.
$1500 to play American Pie. Apparently the guy had just won a whole lot of money at the casino, and I happened to be in the right place at the right time. You better believe I played every damn verse of that song. There's at least 483 verses, fyi.
Its hard to explain, but because i mainly am playing by ear for work, i just have to be familiar enough with a song, the general "vibe" or rhythmic feeling it has, and its not that hard. i have the ipad at work mainly for the lyrics. ALSO, i am pretty terrible at remembering peoples names/faces. i have the suspicion that all that space in my memory is being used up by shitty jimmy buffett songs.
Funny celeb story, zac brown was in the piano bar like 3 months ago, and i was sort of nervous because everyone was requesting zac brown songs. its nerve-racking playing someones song in front of them. i mean, fuck that. seriously. anyways, i played "colder weather" and it went OK and then i noticed the guy had signed "Thanks for the music. -Zach" on the napkin. he was totally NOT fucking zac brown (theres no "H" in his name), he was just a hillbilly with a trucker hat and a grizzly adams beard drinking bud light and signing autographs, hitting on girls. dude fooled the entire place for 2 hours, taking pictures, etc. in retrospect, it was pretty hilarious.
Michael buble came in after a show here in new orleans and was super nice to everyone, taking pictures etc. apparently he requested one of his own songs "save the last dance." During the superbowl in Feb, we had a ton of celebs come through. jerry rice, jason bateman (hero), billionaire jerry jones (great tipper ;), got to meet michael phelps, everyone was super nice. andy roddick and brooklyn decker came awhile back, she requested "don't stop believing." (i DEFINITELY didn't smell the napkin after she handed it to me like a creeper. promise.). the crossbow dude from "the walking dead" comes in every year for new orleans comicon, super nice guy. and last, but certainly not least, Lance Bass.
I guess bayou classic only because its the most dangerous weekend of the year. also, never to wear a pink tie during "southern decadence" weekend. huge mistake, though the crowd is actually really fun and they are good tippers.
In the history of the piano bar, i'd have to say either willie nelson or kenny rodgers, though this was before my time. we do get a fair amount of celebs but i havent had any notable sit-ins, unfortunately...
Thanks man, i am on stage performing at least 20 hours a week. besides that, i am always learning new songs, writing songs, thinking about music. just finished a music video for a new music project. i also do a considerable amount of session work, where people hire me to play piano in the studio for hip hop/country/liturgical/anything... helps to be versatile.
Don't be afraid to make mistakes. my immediate reaction when i hit a wrong note or can't reach a high vocal parts is to smile. we're not performing brain surgery over here. if you stress out over it, the audience can tell. have fun and enjoy it. shake it off, homie.
You will learn SO MUCH MORE from bad gigs than from good ones. and you WILL have some awful gigs, starting out. learn from them. (i still have bad nights all the time)
Don't underestimate the power of a good business card. with design/printing, they may cost you 150-200 bucks, BUT the'll last you for years. makes you look professional. also, always overdress for gigs.
Lastly, i'd recommend going to a nursing home that has a piano sometime and play for the elderly. not only is it good karma, but they are the easiest audience you'll ever have. it will be the highlight of their day, even if you sound terrible:)
Good luck, and feel free to email me if u have any more questions: mageezbeats at gmail.
Woof... i'd rather not try and embarass myself trying to rock out some steely dan on the piano. shit is written for 12-string and is crazy. musically brilliant, but cray. lived in bethlehem, pennsylvania and finished my bachelors in music performance degree at Lehigh University (was at Tulane)
Watched the first episode and but didn't watch anymore. i'm sure its a good show, but it is literally like walking outside of my apartment and walking around (i live in the french quarter near the marigny / treme area). would you watch a show about your yard and job and your neighbors and yourself? too familiar to be interesting. but i do love the wire, so david simon knows whats up.
I don't love bourbon street. actually, i havent gone out on bourbon street in years. frenchman has a lot more new orleans authentic jazz groups and a more laid back / less touristy atmosphere by far. when i have a night off, i usually just watch netflix.
Some piano bars do that, but at the one I work at, we don't stop playing songs just because someone throws money at us. As far as the hardest song I know, it's a toss-up between "The Devil Went Down To Georgia" and "Changes" by Tupac.
Its hard to rap like Tupac and play relatively-complicated bruce hornsby chord changes at the same time. Like patting your head & rubbing your belly at the same time.
Was hired to interview birdman for YRB magazine a few years back, unrelated to the piano bar (i'm not a journalist by any means but a friend needed a favor). he was wearing an all gucci tracksuit and showed up in a stretch PT cruiser. true story.
As far as bourbon st goes, i wouldnt recommend any novelty drinks whatsoever unless you want a hangover. but that's my personal preference bc i hate sugary drinks. some of my girl friends love the "190 octane" daiquiris (they are deceptively strong too)
Without going into specifics about my particular place of work, a piano bar is a place where people can sit a table with their friends, write down song requests on a napkin or paper, and hand it to the players (sometimes with tips, sometimes not). then they get served a strong mixed drink concoction, and enjoy hearing their favorite songs live. it's like a concert where you determine the playlist, and everyone, including the patrons, can sing along and interact with the show. if you want to know about bourbon street in general, i dont know where to begin... it's a place where bad decisions are made, the original "boulevard of broken dreams."
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