Reynold Tsui, a student at the University of Toronto Mississauga, recently won top honours in an international video game design competition, despite having little actual experience in the field – and he credits his English and art history classes for providing the necessary inspiration.
The fourth-year student was named a finalist in the inaugural Intergalactic Murder Gardening Contest, a video game design competition from Toronto-based interactive media company Stitch Media. Tsui, who studies art, art history and English, was inspired to enter the competition after spotting a YouTube ad about designing a level for Terrorarium, a 3D video game developed by Stitch. Contestants were asked to build upon the basic foundation of the game, adding unique landscape features and devising challenges for players to solve.
It was Tsui’s first-ever foray into competitive video game design.
“I really wanted to accomplish something before I graduate and take that next step,” he says. “When I saw the advertisement, I thought, ‘Why don’t I give it a shot?’”
The competition for students and new graduates drew more than 260 entries from across Canada, the U.S. and the United Kingdom. Top prizes included a cash scholarship, Nintendo game gear, as well as design credit and inclusion of the winning levels in the final version of the game, which is set to launch later this summer.
Tsui says he took inspiration for his entry, “Abandoned Castle,” from the ruins of Italian and French castles that he studied in his art history classes at U of T Mississauga (screenshot)
Taking the form of a grandmotherly humanoid bug accompanied by an army of tiny, blobby creatures, players of Terrorarium must navigate different levels to solve puzzles and ultimately win “the blue ribbon from the Intergalactic Horrorcultural Society.”
Tsui’s entry, “Abandoned Castle,” challenges players to navigate through a stacked maze of crumbling buildings and overgrown garden paths peppered with carnivorous plants, terrifying insects, fire-breathing monsters and other traps. The budding designer says he took inspiration for the game’s landscape design from ruins of Italian and French castles that he studied in his art history classes at U of T Mississauga.
Tsui also drew upon his experience with an English course on video game design, taught by Siobahn O’Flynn in the department of English and drama. In the course, students learn about plot development and critical game theory and create a story-based digital word game.
“That class established a fundamental understanding of games for me,” Tsui says, noting that the game he created for the course was designed to trick and confuse players.
His Terrorarium entry takes a similar tactic. As players move through Tsui’s maze of ruins, they are faced with choices that may lead them down the wrong path – sometimes to their doom if they fall for the tricks Tsui included to keep players on their toes. “It might seem straightforward, but the player might get a reward or they might be sent back to the beginning,” Tsui says.
“Games are supposed to be fun,” Tsui adds, noting that he played the entire level five times to ensure players could solve it. “It’s a tricky course, but I didn’t want to make it unbeatable. When I play it, I walk into every trap to see what will happen. I really put myself in the player’s shoes.”
In a recent online showcase of the winning entries, Stitch’s designers lauded Tsui for his maze design, noting that his entry helped them better understand the possibilities and challenges of creating a multi-level maze within the game. “It shows a lot of patience and dexterity,” said one of the panellists. “We referenced your level a lot when we were trying to improve visibility of the Gardener.”
Encouraged by his competition result, Tsui plans to spend more time learning about programming and working on game design. “I would like to make contributions in authentic reality and virtual reality,” he says. “Games really inspire me. I want to learn more and apply my knowledge.”
Tsui says his personal credo, both in the virtual worlds and real life, is all about stepping into the unknown: “It’s about having the courage to make that step forward and take a risk.”
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
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.
