![]() The residents could not get out, and we could not get in without being announced, so it was very private. What I liked most about them was that they took the people into the bathroom every two hours because they want them to remember that they need to go to the bathroom. The place was small but really wonderful. ![]() The bathroom is in the hallway because these people could not use the bathroom by themselves, so they have one of the nurse aides take them to the bathroom to give them a bath, and dress them up in the morning. It wasn't very big, but you have your own bed and a nightstand. The room they showed us was very clean with wood floors. They only had 16 people in there, and I remember everyone had his own room. It was a very nice place with an open area like a big living room with several sofas, chairs, and a big TV. ![]() “Developers were often expected to bring their own tech to their jobs and this particular Amiga was shared between Cris and his then partner,” Emily reveals.Turid444408 We liked AutumnGrove Cottage Humble a lot. In particular, The Art of Play will display the Amiga 4000 used to design Worms, Worms 2 and its cinematic cutscenes. In conversation with Worms artist Cris Blyth, for example, the curators paint a picture of what it was like to create the blockbuster artillery game in 90s Yorkshire. The Art of Play hides countless game-making secrets like this. Not only did the co-founders actually dig up floor plans of their flat during the game’s making, “to figure out the scale of all the rooms”, the physical construction of theatre sets can also be found at the heart of the project – here, utilised as “a narrative force” to reflect “characters’ thoughts and feelings”. “Despite being such a strong physical art form, it actually maps rather well to the thought processes behind creating a narrative focused game like No Longer Home,” Humble Grove details. Steeped in domesticity – with Cel and Hana attempting to “immortalise” the flat that they lived in through its creation – the duo looked particularly to theatre. The point and click game unpacks the personal thoughts and struggles of Humble Grove founders Cel Davison and Hana Lee as they were about to graduate. No Longer Home, also on display at The Art of Play, transposes similarly real-world inspirations and processes into the digital realm. The game, in Michael’s view, “is a loving tribute to how beautiful and uniquely aesthetic traditional artistry and techniques can be, particularly when they are then transplanted into this shiny, new digital world”. Produced by the Cambridgeshire-based indie team State of Play, Lumino City employs traditional handmade processes like metalworking with materials like heavy-duty cardboard, alongside contemporary digital processes. Michael Pennington offers Lumino City as an example of one such game. One focal point of the exhibition will be the unexpectedly analogue techniques often used within these works, unpacking how non-digital aspects can dictate the moods and textures seen on screen.Ĭurator Dr. Lumino City, Humble Grove’s No Longer Home, Ustwo’s meditative puzzle game Monument Valley, and classics like Dizzy and Worms will be reevaluated through case studies created in conversation with their respective studios. Via a look into five UK-made video games, the exhibit aims to offer insight into their makings, artistic merit and ongoing international impact. Attempting to correct this omission from the creative history books is the National Videogame Museum’s latest exhibition: The Art of Play. Another is: “Are there many good games made in the UK?” For curator Emily Theodore Marlow, these questions “demonstrate how overlooked the rich history of UK game-making has become, especially the history happening in Yorkshire”. “Why put a games museum in Sheffield?” is a question the curators behind the UK’s National Videogame Museum are occasionally asked.
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