Art

Game on: English prof delves into art of indie video game creation – News@UofT

Published

3 years ago

January 6, 2022

When you play a video game, do you ever stop to think about the work, time and energy that went into creating it? In some cases, a game takes years of imagining, creating, developing and fine-tuning.

Adam Hammond, an associate professor in the University of Toronto’s Faculty of Arts & Science’s department of English sees the beauty of artistic creation in video games and believes it’s one of the most demanding and challenging art forms today.

Exploring that passion, he’s written a new book where he shadows the creator of an independent video game called JETT: The Far Shore, following the path from its inception to launch.

In addition to recounting the at-times tortuous 10-year development of the game, The Far Shore: Indie Games, Superbrothers, and the Making of JETT also delves into the history of independent video games and how they relate to other forms of independent art, such as music and literature.

“It’s not a ‘how to design a video game’ book,” says Hammond. “It’s more about the people and what they go through, and how the act of creating a video game is similar to the act of making any other form of art.”

Created by designer Craig Adams (a.k.a. Superbrothers) and programmer Patrick McAllister (a.k.a. Pine Scented), JETT was released in October. In the game, you’re tasked with scouting a new home for a humanoid people after they’ve destroyed their native planet. However, once on that new world, players must plan their survival while contending with the consequences of environmental destruction.

The inspiration for the book comes in two parts. The first is Hammond’s love of all things indie.

The Far Shore: Indie Games, Superbrothers, and the Making of Jett by Adam Hammond

“I’m a lifelong fan of independent music,” he says. “When I was a teenager, I was in a punk band. We believed that you have to do things yourself for them to be as ideologically pure as possible, and that any other form of creation is compromised. I never fully abandoned that thinking.”

The second source was an indie game called Sword & Sorcery, released in 2011 by Superbrothers. This music-inspired cosmic adventure game was at the forefront of a new era of indie games, and Adams was called a visionary.

“I had heard about indie games, but I hadn’t played one that I liked,” says Hammond. “But I got obsessed with Sword & Sorcery. I don’t think I’ve ever liked a video game as much. There’s something magical about it.”

That adoration led Hammond to invite Adams to speak at one of his classes, which sparked the idea for the book.

“It was a mind-boggling experience to meet someone who I consider to be a major artist of a new form,” says Hammond. “He was telling me everything about his next project — which at the time was mostly ideas — but it was extremely interesting. I got totally sucked in.”

That was in 2013. And then for years, the game’s progress slowed to a crawl. In fact, it took another eight years of development before the game was released. Over that time, Hammond only spoke with Adams and McAllister occasionally, sometimes just once a year. There were plenty of highs and lows.

“Increasingly, the narrative was not one of, ‘Here are my amazing ideas’ but one of, ‘We don’t know how we’re ever going to finish this game,’” says Hammond.

During this long stretch, Hammond learned about the complex intricacies of video game design.

“You have to have music, visual art, moving pictures, you have to have text and you need a story,” he says.

He recalls one discussion about some of the game’s sounds, in particular sounds for “ground control” – the headquarters for people on their new planet.

“They had a spreadsheet of all the sounds they needed for ground control,” says Hammond. “For just the sound of a footstep, you have to create the sound of one person’s footstep versus another person’s because they should be different. And then you have to do the programming to make sure the right sound is triggered at the exact right time. It’s just crazy how hard it is to make a game.”

Visually, it was just as demanding.

“Imagine a space outpost where a character is walking down the hall,” says Hammond. “If the person turns around, what does it look like from that perspective? If it’s at night, how much light is coming in? What if they turn on the light? These are the things that took them years to figure out.”

Eventually, Adams and McAllister realized they needed help. They conceded they needed more people and money, so they worked with Sony and Epic Games to bring the game to fruition. At one point, Hammond guessed there were as many as 30 people working on JETT.

“That’s what it took to finish the game,” says Hammond, noting both Adams and McAllister were a little disappointed that the game took a “big business” turn and strayed somewhat from its independent roots.

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JETT has had mixed reviews since its launch, which Hammond believes speaks to its independent origins – because, like any piece of independent art, it’s not for everyone.

“But I think it’s amazing,” says Hammond. “A lot of people are still not sure about the game, and I get that. I mean, it takes on about the heaviest themes imaginable – it’s about colonialism and environmental destruction. It’s not straightforward entertainment. But for me it couldn’t be more satisfying or timely. And I think it will find its audience eventually.”

In the meantime, Hammond feels we’re embarking on an exciting time in independent video game creation, “where new artistic possibilities are opening.”

“Now, small groups of talented people can make games just because they have something they want to express,” says Hammond.

“And I think in the next five or 10 years, we’re going to start seeing people use the form of the video game for new purposes and that’s going to be amazing.”

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

5 days ago

September 13, 2024

Harry Miller

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

1 month ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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