#‟ id: lou porter ” || connection

[themechaneer]

@p0914

Death Stranding (2019)

[idontfindyouthatinteresting]

For fic writers, artists, or people who just want to know what on earth is going on with this game, I’ve created some resources, this is a list of details about accessories and talismans in the game but there is also a…

Glossary / Character Profiles / General Plot Summary

ALL OF THESE CONTAIN HUGE SPOILERS - THEY ARE THE FACTS AS I KNOW THEM - READING THIS WILL SPOIL THE GAME FOR YOU. YOU HAVE BEEN WARNED. If there’s anything that’s wrong let me know with a source to the correct answer, but I haven’t written anything I’ve not been sure of, but this is all based on my memory of the game.

Sam’s Q-pid was given to him at the start of the game by Die-Hardman, it’s made by Mama (hardware) and Lockne (software) and it’s use is to activate the chiral network at terminals, to bring cities online. The Q-pid has to be replaced by Mama midway through the game because it’s chiral limiter is faulty, and too much chiralium means more BT activity and potentially the end of the world. The Q-pid is usually Sam’s key mission and most important cargo.

Amelie’s Quipu was given to her by Sam as a child when they’d meet on the beach. The knots are designed to represent Amelie and Sam’s visits on the beach, but the pattern in real life, when coded, reveals a melody from Low Roar, a band whose music is used a lot in the game. The bonds demonstrated in the Quipu links Sam to Amelie and helps them find each other on the beach. The Quipu is stolen by Higgs from Amelie, he wears it for a period of time, but the image is also used by the team who saved Sam from the beach, a symbol they all wear and of a new start and perhaps in support of Amelie, and the sacrifice she’s making to give humanity, and the UCA a chance. When Lou is resuscitated by Sam, she comes back with the Quipu in her hand, presumably given to her by Amelie.

The Spacement toy is given by Cliff to BB (Sam) whilst he’s still in the BB pod, it hangs from the pod and represents Cliff’s desire to get BB out, to show him the world, even go all the way to the moon, so in this sense it almost represents a freedom, something Cliff dies for, and his motivation throughout the whole game. The spaceman also appears on Lou’s pod, and initially this is enough to make you think that Sam’s Lou is the same BB as Cliff’s, and that is why Cliff is chasing Sam down, to take his BB back. However in actuality the spaceman on Lou’s pod belongs to the Corpse Disposal worker who was using Lou at the start of the game as his twin brother has the same Spaceman. Again it’s a sign of an intense bond and family.

Sam’s dreamcatcher was given to him by Amelie. When Amelie sent a dead, infant Sam back from the beach, she game him DOOMs, his repatriate status, and the ability to see some of her nightmares as an Extinction Entity. The nightmares disturbed Sam as a child, and he retreats to her beach crying to try and escape them so Amelie gives him the dream catcher to try and help stop the nightmares, this then acts as another representation of the bond between Sam and Amelie. Sam wears the dreamcatcher around his neck whilst he sleeps and it’s attached to his back rig when he’s transporting cargo. This intense connection between Sam and Amelie, as demonstrated by the dreamcatcher, it used to help get Sam to Amelie’s beach for the final confrontation.

Heartman’s hourglass helps him to track his time from the ‘real’ world to the beach. The hourglass presumably has crushed Chiral crystals in based on the colour and it’s reactions. So for 21 minutes, the goldren crystals flow down into the bottom portion of the hour glass, the glass isn’t turned over, but it’s tapped when Heartman dies, whilst heartman is dead, the Chiral crystals react and become the black tar that appears when someone turns into a BT or ‘goes necro’ the tar flows upwards, defying gravity as you experience when BT’s are active. It flows up quicker, and all the chiralium is in the top portion of the hour glass within 3 minutes. 

Die-Hardman takes a revolver with bullets filled with Sam’s blood (i.e. toxic to BT’s because of his repatriate status) to the Beach with Amelie. The gun is left there and Amelie gives it to Sam with the option to shoot her to stop the Extinction, in the game you’re given the choice to shoot Amelie, or to lower the gun and hug her. Hugging her stops the extinction, reminds her what she’s saving. Sam retains the gun, and attempts to shoot himself on the beach to free himself, but it doesn’t work. Sam is rescued by Deadman, Heartman, Lockne, Mama, Lou and Fragile, but he brings the gun back with him. He gives the gun back to Die-Hardman, with a message that ‘it doesn’t work here’ or that a gun is not the means to get things done, a gun would have ended the world, if Sam had killed Amelie, she wouldn’t have been able to stop the extinction. Die-Hardman hopefully learns his lesson, as the new President of the UCA.

Missanga was given to Sam by Fragile about a third of the way through the story. This is because in a post ‘Death Stranding’ world, there are lots of areas which will accept Bridges Porters, but some areas around Lake Knot City, South Knot City and Mountain Knot City, who will only accept parcels from Porters carrying ID’s which identify them as Fragile Express employees. This is because of brand loyalties, when your company is bringing you medicine and food and you’re so reliant on them, you tend to build strong loyalties. Sam wouldn’t be able to get access to particulal terminals without it, so it’s an important thing for Fragile to give Sam. As both Sam and Fragile have worn Missanga, it represents a bond between the two of them. 

[longislandweekly-blog]

Negative Space (Photos by IKKI Films)

When Port Washington native Max Porter and his wife Ru Kuwahata became inspired by a 150-word poem by Ron Koertge three years ago, they decided to create a short five-minute film to bring the poem to life using handmade stop-motion puppet animation. The film, Negative Space, was nominated for an Academy Award in the animated short film category after having won 54 major awards and being played in more than 137 festivals.

“We’re very honored to be nominated,” said Porter and Kuwahata. “Our entire team poured love and passion into this project, stitch-by-stitch and frame-by-frame. We could not have created this film without them and we’re overwhelmed with gratitude. It’s been a fantastic journey and we’re excited that more people will get to watch our film.”

Porter explained that the process of creating the film and then having it nominated was not a simple one. After Koertge gave the husband and wife duo, who are both part of the faculty at Maryland Institute College of Art and own Tiny Inventions studios, full creative license to adapt the story, it took a year for pre-production work, which included story boarding, writing and obtaining funding through grants. The short five-minute film took nine months to animate and two years to produce.

Directors Ru Kuwahata and Max Porter.

“The process to be nominated for an Academy Award is different for a small studio than a bigger studio,” said Porter. “For small studios, you submit to film festivals accredited by the Academy. We won the Academy qualifying festival last summer, then got onto the short list of 10 and then the Academy voted it down to the five final nominees. It’s funny because people think we got a special message ahead of time, but we found out same way everyone else finds out—through live stream announcement.”

Negative Space follows a father-and-son relationship through the art of packing a suitcase. The short film opens up with the son unzipping a suitcase and describing the ways in which his father told him to pack most efficiently. As the son puts his suitcase in the car and drives off, the road unzips to a flashback of when the son was much younger. As the playful scene plays out, recounting how the father taught his son to pack a bag, the son is whisked away into the bag itself. Soon enough, the clothes begin to lap against his feet as though they are waves, bringing him under the sea. As the underwater scene vanishes, one watches as the son packs his father’s bag for a trip and awaits a message telling him what a “perfect” job he had done. The tone of the film turns somber as the film jumps back to the son’s original destination in the film. The son enters a funeral parlor, alone, standing over his father’s casket and utters the striking words, “look at all that wasted space.”

“We were drawn to how clear the poem communicates a relationship between a father and son and we thought it spoke very honestly about the connections parents and children have,” said Porter. “For us, we didn’t try to put a message into the project. It’s important people take away whatever they want, but what people have been doing more and more, because it’s a story about family and the connections between parent and child, people have been telling us their story. What’s been beautiful is that the film is giving people a space to talk about what’s important to them and how they connect with their own family members.”

Porter and Kuwahata have been working together for 11 years and Porter explained that because Kuwahata is his wife, they are able to truly trust one another and know one another’s strengths which allows for a natural process of collaboration.

“For us, our collaboration is part of what makes it special,” said Porter. “Every project we do is a conversation because we’re partners in work and in life, so that conversation can be that much more intimate.”

Produced by Ikki Films in France, Negative Space is nominated alongside Dear Basketball by Glen Keane and Kobe Bryant; Garden Party by Victor Caire and Gabriel Grapperon; Revolting Rhymes by Jakob Schuh and Jan Lachauer; and Pixar’s Lou by Dave Mullins and Dana Murray.

The 90th Academy Awards begin at 8 p.m. on Sunday, March 4. For more information about Negative Space, visit www.tinyinventions.com.

Port Washington native Max Porter and his wife Ru Kuwahata created Negative Space, a short five-minute film using handmade stop-motion puppet animation that is nominated for an Oscar. Long Island Weekly's Christina Claus chats with the filmmaker. When Port Washington native Max Porter and his wife Ru Kuwahata became inspired by a 150-word poem by Ron Koertge three years ago, they decided to create a short five-minute film to bring the poem to life using handmade stop-motion puppet animation.

[themechaneer]

@p0914 & @strandsoffaith

The time fall wasn’t letting up and Sam’s car wasn’t doing so well. There was only one place to go, thankfully there was a road beneath him still.

After a short hike Sam arrived, Lou strapped to his chest beneath his jacket. Joel opened the door, looked Sam up and down and without a word waved the two of them inside. He fanned out a blanket on the floor for Lou and motioned to a cot nearby that Sam could call his own.

They didn’t need to talk, what was there to say? Two tired,old souls who knew what was most important right now and conversation wasn’t one of them.

Lou clacked the plastic cups together happily as Sam lay on his side, watching her all the while. Joel sat opposite, tinkering with a part that had been giving him grief.

In a few hours the two of them would part ways again, with no more than a nod and a new set of wheels beneath them. Sam would call it an IOU. Joel knew he was good for it. There were more important things to consider, and they both knew where to find a vehicle again if needed.

[themechaneer]

@p0914

[themechaneer]

@justdelivers & @strandsoffaith

been having feelings about these two living their lives, just together. sometimes the feelings are a bit sad.