vagrant bus
singapore - a singaporean man was mistaken for a vagrant when welfare officers picked up several people for loitering in muar, johor .
when at the bus depot, candy edwards from the later vice case
the set up
can be seen purchasing a bus ticket to an unknown location .
if you begin to chase the bus then give up without actually catching it, phelps will still mention the bus driver' s statement in subsequent interrogations. the case report, however, will state that you ought to have interviewed the bus driver .
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the bus stop at mott st. and beach channel dr. where the man was fatally beaten .
the bus driver who delivered theresa to her death might have liked a chance to testify .
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welfare officers initially thought he was homeless, but investigations showed that he had missed the last bus to malacca .
in the spirit of waiting for guffman and spinal tap, das bus combines real and staged events alongside archival footage as viewers experience
bus culture
in the
bible belt
metropolis of... see more »
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during the drive while trying to locate the bus driver, rusty and phelps will initiate dialogue unique to that scene .
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but with the help of ikea and an army of cleaning supplies i was able to get the bus into livable condition .
welfare officers initially thought he was homeless, but investigations showed that he had missed the last bus to malacca. - tnp
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as we know, bus drivers can sometimes be a problem. now, don' t get me wrong - i rarely have wrong words with bus drivers, mainly because i can' t understand what they' re shouting at me, and i recognise that it' s only the badly - behaved majority that tar the rest with the same brush - but we rather like the novelty of having a friendly encounter with a bus .
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a group of illegal immigrants are brought to stockholm in a bus by a smuggler who takes all their money and passports, and then runs away .
the man, in his 40s, was found sleeping at a bus terminal along jalan maharani at about 3. 40am on saturday, the star reported .
one of the
vagrant male suspects
will be at the bar (richard bates). the barkeep will point him out, but bates will try to flee. you' ll have to chase him on foot as he starts to run .
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a 57 - year - old man was beaten to death by a homeless man as he stood at a bus stop in queens early thursday, police said .
original story 14 / 01 / 2014: yasumi matsuno, best known as the director of vagrant story and final fantasy tactics, has partnered with mobile developer playdek to launch a kickstarter campaign for a new tactical rpg entitled unsung story: tale of the guardians .
they were found sleeping at various spots, including a bus terminal, pedestrian walkways and inside a shopping mall. some were also seen begging for food during the day .
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at the bus depot, you' ll get the name of the bus driver from last night. turns out he' s out driving the 74 route now. the route is now marked on the map. drive the route counterclockwise until you find the bus, then pull it over by blocking the front left of it and talk to the driver, frank zeferelli. he' ll confirm that the sailor was telling the truth, however it seems that theresa was confused and lost. she was dropped off near a hobo camp .
through some incorrect answers to questions, the player cannot learn the bus lead. yet cole will still mention this during the stuart ackerman interrogation seemingly without prior knowledge of it .
rusty: no, no, no! you should' ve gone the other way. we' d have found the bus by now if you' d gone the other way .
in case you had forgotten, guy’s and st thomas’ nhs trust spent over £10, 000 of nhs funding in an attempt to prevent ‘floating’ bus stops being built on we ...
which brings us to unsung story, a game that raised $ 660, 126 on kickstarter in january of 2014. it was supposed to be a spiritual successor of sorts to final fantasy tactics, and developer playdek even name - dropped game designer yasumi matsuno, the creator of fft and vagrant story .
the victim was found unconscious with head trauma laying at a bus stop on mott avenue near beach channel drive in far rockaway at around 4: 30 a. m. , cops said .
in the spirit of waiting for guffman and spinal tap, das bus combines real and staged events alongside archival footage as viewers experience
bus culture
in the
bible belt
metropolis of kansas city. with guest appearances by crime novelist james ellroy and rap star tech n9ne, das bus is a thought provoking romp that will confront everyone' s attitude about public transportation. you will laugh, you will cry, you will empathize, you will say
no way
- - an independent film in the true sense of the word. written by r. douglas chapman
head to the bus depot location next. on the way, cole will have a patrol car pick up lars; as for bobby ross, dispatch reports that his poker game ended around midnight .
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in the colourful and variegated background of camden town, miss mary shepherd seems in some respects not unusual. she was a vagrant but a stationary one, resident for the last 15 years of her life a few feet from my front door where there was a paved area – the architect had wishfully called it a patio – just big enough to take a car. or, as it transpired, a van .
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, a double - decker bus converted into a mobile cafe. it serves top coffee and cakes, and hearty german sausages, and is currently doing a season in mile end park every week (by the art pavilion at the end of ashcroft road) from thursday to sunday .
the isolated status of refugees in this film harks back to the issue of the representation of space in allamezadeh’s movies. claustrophobic spaces, as a recurrent feature of transnational cinema (naficy, phobic 211), are present in both films. in a few simple sentences the bus exhibits a closed space and, through the suspicious looks of its travelers, takes on the role of a mobile courtroom. here the function of the claustrophobic space is different from that of a shelter –as opposed to the guests of hotel astoria. throughout the bus sequence there is only one shot taken from the outside. panning camera movements accentuate the limits of this closed space and therefore intimate ali’s entrapment within a network of gazes. the idea of suffocating space is augmented through the analogy of the pigeon and ali, which encourages us to read the bus as a symbolic cage for ali .
after the interview, officer isaac kelly will come up and say that he' s got news on the hobo. he' s been sighted and he' s wanted in connection with two other female assaults. rusty will mention a bus depot that you can check to confirm the sailor' s story .
on the way to the bus depot, you' ll get a message about bobby ross' card game. rusty asked to have lars taraldsen picked up and brought to central, but if you go into the room with the holding cells after interviewing jessop, lars is in the first cell when you walk in .
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anyway, three weeks ago i took the equivalent of three months’ rent and bought an old red bus. it’s a 1969 vw camper van with a hole in the floor and a family of spiders that has more of a right to be here than i do (sleeping in your car on public land in california is illegal) .
as i sit in darkness writing this, i’m trying to keep my typing quiet, lest a real inhabitant of the neighborhood i’m parked in should walk by and wonder about the sounds coming from the rusty bus loitering on their block. yes, you understood that correctly: today, i work in a multi - million dollar office complex, and i live in a van .
overall, i’m proud of the way my project turned out. but of course this living situation wouldn’t be possible if i didn’t already have a job that feeds me and allows me to shower and do laundry at work. i also have a network of friends who are ready to step in should a crisis emerge and offer me a temporary bed. and i am a young, white woman, which gives me the immense privilege of pulling up a creepy van and parking it without being harassed. people don’t report me; neither do they assume i’m a vagrant. they smile and ask if i need anything .
but most importantly, crowdfunding changes the dynamic between consumers and content creators in an unhealthy way. yes, there can be more participation and some sense of
democratization
of the game development process. but i question whether that' s actually a good thing to begin with. and in the case of unsung story we have what appears to be a very opaque development process that threw the entire point of the original project under the bus .
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and if it' s sunny you can nip down to the palm tree pub just by the canal here which is also a bit of an east end bike mecca when the weather is fair. many happy hours spent there getting quietly tiddled on the grass before pushing my bike home. thanks for the tip rob; i hadn' t spotted this bus cafe. old routemasters becoming eating establishments seems to be quite the thing these days; there' s one in brick lane / truman' s yard and another in soho too. rather there than trying to overtake me on the holborn circus roundabout any day !
this is a very harsh movie about people who immigrate to a modern society with the hope of finding a job and earning money. it tries to focus on the disparities between the cultures. this movie presents the point of view of nine immigrants traveling with a bus from very rural areas of turkey directly to one of most modern societies. they find themselves tricked by a passer who took their money and passport with the promise of finding them a job in sweden. as they arrive to stockholm, being completely foreign to the city and to the culture, having no where to go to and no money to buy food, the only place they can find refuge is their bus, parked in a very central and crowded spot in stockholm during the cold winter time. the fear of being caught by the police forces them to hide in bus during day. and during night the harsh fight for the survival starts. during these nocturnal excursions, we come to see how these rural farmers perceive the everyday night life in the town. the movie presents nicely how socially acceptable aspects of the daily life (such as alcohol consumption, nudity, sexuality and homosexuality), appear as perversions to people who are foreigners. and this is why i think nearly all of the local citizens are pictured unfriendly, pervert, racist, vain, arrogant, cruel and merciless. on the other hand, all the nine victims are presented as naive, rough, nearly completely unintelligent. this is the reason why i think this movie doesn' t gain a deeper meaning. it stays like cruel story without being completely unfolded in different directions. therefore, even though this movie takes its starting point from the topic of immigration, it doesn' t really deal with it in a deeper sense. however i think it is a very interesting movie worth to be seen .
there are many people who are forced to live in their cars because they really cannot afford to live in the bay area. i am not technically one of them, and in doing this by choice i am inevitably appropriating their hardships. however, i am also saving hard, trying to pay off my debts, and learning a few invaluable life skills—like carpentry and how to be a fairly competent mechanic—in the process. also, i get to flood social media with updates that basically equate to “ha. told you i’d do it. look at me now. i’m in a bus. you’re going to have to pay up on the $ 5 bet you made that i would never go through with it. ”
she uses an example of a boy that suddenly discovers himself as the subject of the gaze when he is on bus –not dissimilar in set up to ali’s story in a few simple sentences. to describe this case, sobchack writes: “johnson describes how the epidermalizing gaze locks his consciousness out of a body that no longer is his; its sense and its meaning possessed and devalued by another” (54). sobchack attempts to describe how through perceiving to be perceived by an external gaze –even a gaze that belongs to the person’s own reflection in the mirror– one’s relation with his / her own body gets disrupted and that such a disjuncture brings about uneasiness and awkwardness. based on her argument, this external gaze forces its object to see him / herself through “the eyes of the other” (sobchack 54) and turns him into a “victim of vision” (sobchack 55). she also mentions the balance and gravity of any individual crushed under the weight of the “pathologic gaze”. sobchack then extends this gaze to the function of what she calls the “normative practices” which according to her: “phenomenologically estrange us from our bodies and make us strange and hateful not only to the others, but [ … ] to ourselves” (sobchack 54) .
miss s’s funeral, which in life (or in death) was at our lady of hal in arlington road but in the film is at st silas’s at the foot of haverstock hill. we also film miss s at mass, with maggie smith at the communion rail. but not just kneeling. after miss s’s death i had a letter from father cormacrigby, who was 20 years an announcer on radio 3 before leaving the bbc and being ordained a priest in 1985, when he was sent to live at our lady of hal, miss s’s local church. he told me how, seeing her in the congregation, his heart would sink as he had a bad back and miss s’s exigent (though not ostentatious) piety required her virtually to prostrate herself when receiving the host, with the priest thus having to follow her right down in order to post the wafer into her mouth. maggie does this too, on her knees, four or five times without complaint or assistance. she’s a few months younger than me but i couldn’t kneel like this, or if i went down i couldn’t get up again. she does both, and on camera. then she goes into the confessional box to unburden herself for the umpteenth time to the long - suffering priest (dermot crowley), telling him about the motorcyclist she thinks she killed in an accident years ago. he has heard it all before and has absolved her many times. “absolution, my child, is not like the bus pass. it does not run out. ”
in his short movie allamezadeh presents an instance of epidermalizing gaze at work, but to the detriment of any normative process. here ali, the young immigrant is in the process of integration through learning the native language, but his experience on the bus and his awareness of being looked upon as a stranger negate this procedure, as shown through his reluctance to learn dutch. what ali experiences is a fear of being seen and judged. the hostile reaction ali receives is rooted in his situation as a stranger, a stance perceived through his different external physical features. here the term “epidermalizing” finds more resonance: the hostile glance not only perceives the other through the apparent external traits but also reduces him / her to that superficial picture. this superficial apparition serves as a basis for passing a judgment which, as the film clearly states, could be completely unfair. the “epidermalizing gaze” literally hurts its subject; the bloodstain on ali’s shirt graphically represents the wound inflicted upon him and reinforces the parallel between him and the bird. in depicting this hostile glance, the film goes to the extent of projecting it onto the dog of the beholders, as it initially directs others’ attention to the boy by barking at him. ali’s awkwardness in confrontation with this cruel glance is presented through his inability to speak fluently. speaking is the bodily presentation of the mental process of forging an idea. in ali’s case, his lack of language skills impedes this connection between mind and speech, and by extension between the mind and the body. however his unfortunate experience discourages him from re - establishing this connection through learning language and eventually makes him refrain from recounting the whole story in the class .
for a few simple sentences the idea of accent emerges similarily. allamezadeh’s short film also follows the model of kanoon’s pre - revolution children movies in its use of symbolic language. masoud mehrabi in his history of iranian cinema hints to rumours that circulated around the intentions of the royal regime within the centre. according to him some people believed that the ultimate intention was to persuade the dissident intellectual artists to get involved with purely cultural –and so non - political– activities (352). even if it was the case, the output of filmmakers proved this policy didn’t always go according to plans, since some filmmakers took the opportunity to convey their opposing voices by undercutting the seemingly harmless images of children movies sponsored by the government itself! as mehrabi quotes from zarrinkelk, one of the major animators of kanoon, “ in some cases under the guise of children movies, messages were thrown at the grown - ups” (356). deploying an array of symbols made this secondary level of address possible; for example, a number of kanoon movies before the revolution were constructed around a relation between a child and an animal –which in some cases took up a symbolic role. despite the fact that a few simple sentences was made in a free society, allemzadeh used the same symbolic trope to accentuate the situation of his hero. in some respect, the hurt pigeon and its desperate flight in the bus mirrors the defenseless status of misunderstood ali. also worthy of mention is the fact that daar was similarly about the relation between a child and a bird, albeit in opposing poles. so in this case, we are facing a filmmaker in exile who launches the new chapter of his career by resorting to his previous oeuvre. this adaptive strategy is simultaneously conducive to the creation of accent in a way closer to the linguistic definition of the term .
although such a politically charged fear is not the initial problem for the heroine of the film, poori, she does get involved with it along the way. it is worth noting that unlike the examples naficy utilizes to define this second category, in the guests of hotel astoria, the terror originates not merely from the refugees’ country of origin but also from the place they lead their life of liminality. allamezadeh’s movie demonstrates the ill - defined boundary between the discussed categories. naficy believes that movies belonging to both rubrics of “panic” and “transition” tend to follow a classical narrative structure and therefore are not very innovative in terms of style. he also believes that because of the casting of iranian actors and the use of farsi as the main diegetic language, the film addresses a narrower iranian audience, (an accented cinema 80). of course this idea that the guests of hotel astoria is targeted or limited to an iranian audience can be subject to further debate, but the prominence of farsi among other spoken languages clearly differentiates it from a few simple sentences. this latter title carries more signs from the category naficy dubs as “liminal cinema” (liminal being something that defies easy categorisation into one category or type). we can sense the broader appeal of movies in this category, for based on his definition they are not overly concerned with the ethnic background of the hero. these movies, citing from naficy, concentrate on exhibiting “. . the life and clash of clusters in exile” (an accented cinema 76). a few simple sentences conforms to this model inasmuch as the bitter experience of the child stems from his situation as a stranger who could virtually come from any country in the middle east. his nationality is brought up briefly in the bus scene, but does not play a crucial role in the plot; this more resembles the signature of a director interested in adding a personal touch to the story by pointing to his origins .
given the fact that both films have been out of the film festival circuit for about two decades, i will spend a few lines delineating their respective plots. the story of a few simple sentences is structured upon the unfortunate experience of a refugee boy whose noble intentions for saving a wounded pigeon are misinterpreted by a group of dutch bus passengers. set across a much broader span of space, the guests of hotel astoria follows the story of an iranian couple among other residents of a cheap hotel in turkey who all have fled their home country to seek refuge in a western country. the couple’s initial plan to move to the netherlands –where the man’s brother lives– fails as their visa application is rejected. in the meantime, poori –the woman– gets involved in an amorous relationship with mohseni, another resident of the hotel who, unbeknownst to her, is a leftist activist. following the advice of mohseni’s friend, poori and her husband obtain a visa for cuba, which allows them to enter the netherlands as the transit point. but the dutch officials, suspicious about their connection with the leftist groups, reject their plea for asylum and return them back to turkey. things get more complicated when the turkish police who have already arrested mohseni learn of his intimate relation with poori. poori gets herself and her husband karimnia released by complying with the accusation of the indecent proposal of giving pleasure to the turkish police officer. as the probable result of her one night stand with mohseni, poori discovers she is pregnant. she is then fooled by a word of mouth that leads her to believe that giving birth to a child in the united states entitles the mother to apply for residency. she goes to the united states to deliver her child, but then realizes the falsity of the information. crestfallen, she eventually loses her life during the delivery. her child however paves the way for karimnia’s entry into the states, even though he is unaware of his wife’s death .
allamezadeh started his filmmaking career by making films for children in the 1970s. at least two of his “children movies” were produced by the institute for the intellectual development of children and young adults (kanoon - e parvareshe fekri - e koodakan va nojavanan), a highly reputed centre for producing cultural products for children and young adults under both royal and islamic regimes. as a governmental organization, it was inaugurated in 1969 in order to produce books and films for a young audience, and experienced a “rapid and steady growth” to become one of the “major producers of film for children” (sadr 229). working there sounded appealing to the filmmakers affiliated with the new wave of iranian cinema, as its products, to borrow hamid reza sadr’s words, “depart quite radically from the conventions and production values of the studio system of 1960s and 1970s” (229). allamezadeh earned his reputation through one of his movies for kanoon, daar (reza allamezadeh, 1973), which was circulated in various festivals, including gijon film festival where it was awarded a prize. more than ten years later, it was exactly in the same venue that allamezdeh met the dutch producers of his first movie in exile. learning about his background, the dutch producers invited him to furnish them with a subject, and allemezadeh’s contribution was a few simple sentences, the idea of which was conceived through linking two separate images he witnessed in two different places; a boy boarding a bus in turkey with a pigeon hidden under his jacket, and a pigeon that freed itself from a dog’s mouth in spain. but the influence of the past is not limited to the story behind the production. the story and structure of the film strikes a powerful resemblance to the traditions of filmmaking in kanoon. sadr mentions the common stylistic features of movies made in kanoon as such: “. . more naturalistic photography, closer to documentary than to studio made fiction film…location shooting and the use of available light” (229). it takes little effort to notice that many of these features are applicable to a few simple sentence .
about a year ago, i was having lunch with a friend when i made a throwaway comment: “have you seen the rent in san francisco? if i get a job in the bay area, i’ll totally live in a van. ”
this summer, after receiving a job offer in silicon valley, i went on craigslist and began sifting through housing listings: “verrrrrryyy cheap bedroom ;), ” “great deal on rent! ” a single room with a shared bathroom? two thousand per month on the low - end. a small studio apartment, you ask? if your startup wasn’t recently bought for seven figures, forget about it .
i perked up after finding a listing for $ 1, 000 per month. now this could work. clicking through to the details section however revealed the offer was for a single bunk in a room with eight people, a set - up referred to as a “hacker house” by an (evil) marketing genius .
even if i was to spend the huge majority of my salary on rent, i knew i would likely still be in a grim living situation, resenting every penny i handed over that could have gone towards paying back my student loans. and as a software engineer, i’m one of the lucky ones! imagine those who aren’t lucky enough to be on the tech payroll .
from certain angles, it even passes for a tiny, $ 1, 000 - per - month bedroom .
to these insufferable comments my friends reply that it is $ 5 well spent .
you can follow katharine’s efforts at becoming a classic car mechanic at blog. thinkkappi. com. we welcome your comments at ideas @ urltoken .
“the thing that nobody knows about our perfect family is that my husband is a monster. ”
emergency responders rushed the man, whose identity was not immediately released, to st. john’s university hospital where he died about 40 minutes later .
a woman who called 911 told police that the man was standing when deanthony horten, 34, walked up to him and punched him in the face, knocking him to the ground, sources said .
horten continued to punch and kick the victim before a pair of good samaritans held and scuffled with horten until police arrived, sources said .
cops nabbed horten at mott avenue and central avenue. he was taken to st. john’s university hospital with a laceration to his forehead, which he got while he was being held down by the good samaritans, according to sources .
horten was charged with second - degree murder and first - degree robbery, cops said .
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update 14 / 02 / 2014: the unsung story: tale of the guardians kickstarter was successful .
overnight it pushed through its $ 600, 000 target. playdek thanked backers in an update .
fun fact: matsuno wrote the story for platinum games' wii brawler madworld .
set in the fantasy world of rasfalia, unsung story will cover the full breadth of a 77 year war told from various viewpoints in flashback. each character will star in an episode consisting of several stages. some of these episodes will cover a year of someone' s life, while others will span over the course of more than a decade. often you' ll be fighting against forces you were previously tasked with protecting as another character .
combat will be turn - based on a 3d map with a fully controllable camera, and units will be sorted by profession with different class types within each profession. for example, there' s a polearm knight pioneer and a war mage clergy. one' s got pikes, halberds and scythes while the other' s got short swords, daggers and slings. it shouldn' t be hard to guess which is which .
the first 200k backers to pledge $ 20 will reserve a pc, mac, ios or android copy of unsung story upon its estimated july 2015 release. or you could donate $ 50 and get digital versions of its strategy guide, soundtrack, and poster to boot .
so far unsung story has raised $ 69, 054 towards its $ 600k goal, which is pretty good when one considers it just launched today. the kickstarter campaign will end on 14th february .
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new dev little orbit is
starting from scratch
on the troubled project .
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i used to write a lot about promising kickstarter campaigns for video games. crowdfunding represented a new way of doing business for indie game developers, and a new way for consumers to support games they wanted to play. in some ways, it' s done just that. we' ve gotten some neat top - down rpgs like wasteland 2 and pillars of eternity .
at the same time, however, we' ve seen tons of new problems emerge. major corporate publishers almost immediately began using kickstarter to defer some costs and test the waters of public interest. look no further than the $ 6. 3 million raised for shenmue 3. that game is also being funded by sony - - - only now, sony can spend a much smaller sum on the game' s development. is this really what we had in mind as consumers and enthusiasts? it' s more than a little disturbing to see consumers take on so much of the risk and early funding of these types of projects .
thanks to layoffs and other unfortunate financial circumstances at the company. fine. delays happen. what’s more alarming is that playdek seems to have switched focus on
to make it more of a multiplayer game, and that their new development timeline is all about player vs. player combat rather than the narrative - heavy single - player game that the kickstarter initially promised .
this is one of several reasons why i have never personally backed any crowdfunding project. if i' m going to invest money, i' ll invest traditionally. if i' m going to buy a product, i' ll wait until it releases. and if i' m going to support a game, i don' t feel comfortable also writing about it .
of course, fans are unhappy - - - but shouldn' t we know by now that kickstarter and crowdfunding more broadly is nothing more than a huge crapshoot, especially if there' s very little of the final product on display at the time of backing? it' s one thing if a developer comes with game in hand, nearly finished, and crowdfunds the publication costs. that' s a reasonable - - - and safe - - - bet for everyone. but to fund the majority of a game on donations? i' m only surprised there haven' t been more disasters at this point .
the failed yogventures kickstarter which netted over $ 500, 000 on kickstarter in 2012 and has nothing to show for it beyond a cancellation in 2014. the only winners in that debacle were kickstarter (which still gets its fee) and whoever ended up getting paid. backers - - - a fun word for consumers who don' t actually get a product when they pay and are promised
rewards
instead - - - were left high and dry .
neal stephenson' s kickstarter for
clang
- - - a swordfighting game that used motion controls - - - faced a similar fate. backers received their rewards but the prototype, according to stephenson himself ,
wasn’t very fun to play .
it took just north of half a million in backer money to come to that conclusion .
even the much - praised, much - hyped ouya - - - an android - based gaming console - - - which raised over $ 8 million ended up being a monumental disappointment, and of course backers never saw a penny from the company' s acquisition by razer recently. because backers aren' t investors and crowdfunding isn' t the same thing as investing in a start - up or project .
even success stories like the oculus rift only really serve to show how corporations have taken over the crowdfunding scene. facebook bought that company and its vr headset for $ 2 billion. certainly the kickstarter hype helped spur that acquisition, but there' s something a bit unsettling about the entire process. it' s all risk and very little reward .
ultimately, people are going to part with their money and there' s very little i or anyone else can do to stop them. i' d just urge backers on kickstarter or on other crowdfunding sites to do their homework. don' t back something that' s all promises, and beware of inflated resumes. a crowdfunding campaign should have tons of information, reasonable stretch goals, and a clear and sober timeframe and budget. the majority of the work on a video game should already be done and campaigns should come to backers with lots of the actual game to show off, not just concept art and a snazzy pitch. talk is cheap, and concept art isn' t much more expensive .
be diligent, gamers. even some projects with all the best intentions in the world fall through thanks to a poor business plan or any number of other unforeseen problems .
and don' t count on getting your money back. as schreier reports, playdek - - - like many other kickstarter campaigns that have gone awry - - - won' t be offering refunds. that' s within their legal rights, even if it is a shameful way to run a business .
you can see the original kickstarter campaign for unsung story here, and read the latest update - - - the first since may - - - here. for more check out schreier' s article on kotaku .
i' d love it if you followed me on twitter and facebook and subscribed to my channel on youtube. also feel free to subscribe to my posts by email. thanks for reading .
muar welfare department officer nazri hussin said the singaporean then told them he wanted to go to merlimau, malacca .
we asked our officers to send him to merlimau aswe did not want him to sleep at the terminal ,
mrnazri added .
the singaporean was among five men - aged 40 to 60 - picked up during the operation by muar authorities to round up homeless people .
it' s sad to see them living and sleeping on the streets ,
said mr nazri, adding that his department would send them to a shelter while welfare officers checked on their backgrounds .
earlier, the welfare team also checked a park at taman aman, near jalan abdul rahman, following complaints that young girls were sleeping there atnight .
the welfare officers, helped by the local neighbourhood watch group, found a 17 - year - old girl and four boys there at about 1. 30am .
two of the boys ran away, but the other two boys and the girl were cornered .
when questioned, the girl claimed she was waiting for a friend, while the boys said they merely wanted to hang out at the park .
the girl was sent home and warned that she would be sent to a shelter if she was found loitering in the park again .
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the white shoe slaying | l. a. noire wiki | fandom powered by wikia
the white shoe slaying is a homicide case in l. a. noire .
james jessop - us navy able seaman seen with victim on night of murder .
this case involves a lot of driving that you have to do yourself. cumulative damage ($ 3, 000 +) from reckless driving is one of the most common causes for not obtaining a 5 star rating on this case. drive slowly and carefully .
detectives cole phelps and rusty galloway are briefed about a murder that occurred on signal hill during a heavy rainstorm over los angeles. the two head over to the crime scene and check in with officer andy brown, who has secured the scene, before meeting with the l. a. county coroner, malcolm carruthers, and ray pinker from tech services. unfortunately, the heavy rain washed away most of the evidence. carruthers tells phelps and galloway that the murder is similar to the others: blunt head trauma and strangling, however, there were no messages on the body and the victim was clothed .
if cole does not examine the laundry label on the victim, he will have to make a call to r & i and ask for
missing white females over the last forty eight hours .
the dispatcher will return three names and their home addresses .
before leaving, officer enrique gonzales will bring catherine barton to the crime scene, as she thinks she can help with the investigation .
use the nearby gamewell to get the laundry services address as well as a large hobo camp address. go to the laundry service.
vagrant bus ( russian : бродячий автобус , translit . brodyachiy avtobus ) is a 1990 soviet drama film , filmed at the studio lenfilm by the director iosif kheifits . 
vagrant bus (russian: бродячий автобус, translit. brodyachiy avtobus) is a 1990 soviet drama film, filmed at the studio lenfilm by the director iosif kheifits.
vagrant bus (russian: бродячий автобус, translit. brodyachiy avtobus) is a 1990 soviet drama film, filmed at the studio lenfilm by the director iosif kheifits.