I don't feel like they should have such functionality, but the look of them needs to be right. Here is a good example, concept art from Thief:Ĭloaks or capes should also be available for all classes, think Lord of the Rings, adventurers usually have those elven cloaks on, which protects them from weather and they can wrap themselves when cold, or hide them in certain situations. Think Raistlin Majere from the DragonLance series, he is always hooded and wrapped in his cloak, which gives that character an ominous feel. Swords and armor should not stick through the cloak, and preferably the cloak should have a hood, covering up the face of the mage. Separate the cloak from the legs and the upper body, and make sure it is only connected at the shoulders. Meaning something like real cloth physics, or fake, as long as it looks real. In Dragon Age for instance when wearing a cloak (or whatever they call it) you feel like you are walking around in a women's dress!Īs a mage/magic user i feel it is imperative to be able to have a proper cloak, and it needs to look real. I feel that almost every RPG in recent memory have gotten this aspect completely wrong or not even tried. This exhibition was curated by Robin Clark, associate curator of contemporary art, and is on view April 2 through June 13.Ĭorporate sponsorship of this exhibition is provided by AT&T.I have already backed Project Eternity on Kickstarter, with a $35 pledge, as i really want the soundtrack as well (here is hoping for Jeremy Soule like quality).Īnyways, i have a small request for the game. Freund Endowment Fund, which supports the exhibition and acquisition of contemporary art at the Art Museum and the teaching principles of contemporary art at the School of Fine Arts, Washington University. “Asking the work to comply with building codes is like posting a lifeguard next to Monet’s Water Lilies.”Ĭurrents 91: Francis Cape is part of a series of exhibitions featuring the work of contemporary artists at the Saint Louis Art Museum. “I’m building sculpture, not a house,” Cape explains. Although carpentry plays an important role in the work, Cape cautions against confusing his art with architecture. Cape evokes a sense of rational, pleasing proportions only to contradict them.Īrchitecture functions as both metaphor and tool in Cape’s work indeed, the success of his installations depends upon his ability to manipulate the viewer’s expectations and desires with regard to interior spaces. The gaps between the elements and the walls, as well as the gaps between the elements themselves, demonstrate an inability to achieve an ideal environment. The imaginary, or “notional room,” is implied by the orientation of the elements, but Cape’s transformation of the gallery into a cube is far from complete. Cape inserted a contrasting proposition into the environment that up to this point relied on rectangles: a perfectly symmetrical cube-shaped gallery, which he suggests by aligning the architectural elements along the perimeter of a square. Because the gallery’s measurements were used to generate proportions within the work, the installation reflects the dimensions of the gallery. He worked these dimensions through a Fibonacci sequence to determine golden rectangles, which are repeated throughout the installation. Cape’s first step in researching the installation was to take detailed measurements of the gallery. The work comprises three free-standing architectural elements and a framed drawing. Forest Park, 2004, a site-specific installation by Francis Cape, premieres at the Saint Louis Art Museum in April.
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