Difference between revisions of "Art of Rooks and Kings"

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: I've always believed there should be something very melancholy to our aesthetic. Eve is a virtual war-game that exists during a time when there is also an actual battle unfolding in regards to the internet and the actions taking place on it. History could go different ways here: virtual worlds like Eve may be later seen as fore-bearers for the future Digital Self, or instead be a brief, anarchic glimpse into what might have been. The thirst for genuine sandbox gaming may disappear into a more regulated, commercialised and sterile online existence.  
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: I've always believed there should be something very melancholy in our aesthetic. Eve is a virtual war-game that exists during a time when there is also an actual battle unfolding in regards to the internet and the actions taking place on it. History could go different ways here: virtual worlds like Eve may be later seen as fore-bearers for the future Digital Self, or instead be a brief, anarchic glimpse into what might have been. The thirst for genuine sandbox gaming may disappear into a more regulated, commercialised and sterile online existence.  
  
 
: When people now talk of key concerts in 1969 or life on drug communes in the early 1970s, there is a tinge of sadness. Not just because it represents a bygone moment in history but perhaps because they knew they were living 'it' but didn't know how to preserve or extend it. And for all our 'toys' and virtual 'secret weapons', even Eve's most disciplined combat groups remain adrift in the passage of time.  
 
: When people now talk of key concerts in 1969 or life on drug communes in the early 1970s, there is a tinge of sadness. Not just because it represents a bygone moment in history but perhaps because they knew they were living 'it' but didn't know how to preserve or extend it. And for all our 'toys' and virtual 'secret weapons', even Eve's most disciplined combat groups remain adrift in the passage of time.  

Revision as of 19:28, 20 June 2015

Artwork has always had a special place in the RnK ethos. Pieces have often been commissioned for campaigns (e.g. Tigers in Winter) or simply produced to celebrate the romance of online (virtual) warfare.

A derelict Abaddon battleship, covered in snow; By Nozaj

The considerable success rate of RnK's operations and campaigns might at first suggest triumphant, grandiose themes. However, the dominant images are instead those of disrepair and decay:



I've always believed there should be something very melancholy in our aesthetic. Eve is a virtual war-game that exists during a time when there is also an actual battle unfolding in regards to the internet and the actions taking place on it. History could go different ways here: virtual worlds like Eve may be later seen as fore-bearers for the future Digital Self, or instead be a brief, anarchic glimpse into what might have been. The thirst for genuine sandbox gaming may disappear into a more regulated, commercialised and sterile online existence.
When people now talk of key concerts in 1969 or life on drug communes in the early 1970s, there is a tinge of sadness. Not just because it represents a bygone moment in history but perhaps because they knew they were living 'it' but didn't know how to preserve or extend it. And for all our 'toys' and virtual 'secret weapons', even Eve's most disciplined combat groups remain adrift in the passage of time.


- Lord Maldoror, on Eve forums 2014.
A Pipebombing Titan 'Gun', built into a mountainside; By Nozaj

The most prolific artist for the group has been RnK's own Nozaj. He also served as the main artist for the Clarion Call 4 video.

In addition, work has also been commissioned on a regular basis from DeviantArt.

Unofficial artwork by 'Manufactured Normalcy'