I suspect that’s a combination of the long hours already being spent on the game as well as the weight of expectation. There’s a slight weariness at times when he talks about Dreamfall. It’s become their story rather than ours, and not everybody here worked on The Longest Journey or Dreamfall. “Dreamfall belongs to Funcom, it belongs to my youth, it belongs to the fans. “Everytime somebody buys the previous games to catch up on the story before playing Chapters, we’re still making sales for Funcom!” Tørnquist is amused by the idea that Dreamfall is his series. For one thing, Red Thread have licensed the rights to the series from Funcom. The move from Funcom to a new independence seems intrinsically linked to Dreamfall and the desire to continue the saga that began more than fifteen years ago, but the story isn’t that simple. The Nordic horror/mystery will be his new team’s second release and, as he explained to me during a recent visit to Oslo, it’s the game they were founded to create. That’s something of a surprise, considering that a script and concept for Dreamfall Chapters have existed in his mind (and on various hard drives) for more than a decade now. Årbok for Romsdalsmuseet og Fiskerimuseet på Hjertøya: 148-154.Ragnar Tørnquist describes Draugen as the game at the heart of Red Thread Studios. Fotnote: Sissel Hagerup Heggdal (1993).Kystens flytende gallerier. Søssa Magnus from Oslo and Notodden’s Steinar Klasbu were allowed to exercise their talents in the mess, while Roddy Bell from Bergen chose big human figures in physical activity to decorate the gym. Anita Vik Wætten was responsible for its artistic embellishment and her watercolours are laminated onto Formica boards. Its furniture is in steel and the interior can be hosed down. The “dirty coffee bar” allows them to take a break without having to remove boiler suits and protective footwear. Only one room in the living quarters is open to personnel in work clothes. Prestegård was responsible for the sky lobby, and is thereby the first artist to welcome the platform workers after their helicopter has landed on the platform. The whole creation was encased in laminated plastic before installation. Her starting point was the mediaeval poem Völuspà on the role of the volve (sibyl) and her prophecies in Norse mythology, and she incorporated several of its texts in her piece. She created an artwork tailored to the 21-metre-high stairwell, which extended over five stories. Hals is a fibre artist who has developed her own technique based on paper, print, spray-painting and braiding. Gjertrud Hals from Aukra and Bergen-based Elly Prestegård won to the two biggest assignments for artistic decoration on the platform. Photo: A/S Norske Shell/Norwegian Petroleum Museum kunst på draugen, engelsk, Gjertrud Hals created an artwork tailored to the 21-metre-high stairwell. Interiors throughout were decorated in light and pleasant colours, with furniture and fittings of the best design and quality. The platform’s living quarters included a library, lounge, pool room, gymnasium and mess, which were all to have their own artistic embellishment. The artists also had to come up with new techniques to satisfy requirements for evacuation routes and fire regulations. Rooms differed greatly in their design and purpose. This was the first time the art centre had been responsible for adorning an offshore platform, and Heggdal and her artists quickly discovered they all had to relate to a new “language” and a world where efficiency and speed were key terms. That followed six months of meetings and presentations between Sissel Hagerup Heggdal, head of the MRKS, Shell and Kværner Engineering, which was project manager for the platform topsides. Since Shell wanted to make the maximum possible use of mid-Norwegian sources in building and operating Draugen, the Møre og Romsdal Art Centre (MRKS) was commissioned to manage the decor. This included determining the artistic expression each of the public rooms should convey. Together with the rest of the architectural team, he produced a profile of how the platform should function in terms of decoration and furnishing. To encourage well-being and create a good atmosphere on Draugen, a commitment was made to light, open, well-ordered and aesthetically designed rooms with artworks to please the eye.Īrchitect Bernt Brekke coordinated work on the decor.
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