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THE LAST ALIGNMENT — Game Concept
The Last Alignment is a third-person action-adventure game concept created for the FLORA Museum Challenge on Contra.
The project reimagines eight artworks from The Metropolitan Museum of Art as functional elements of a game world: a player character, guardian, Warden, final boss, environment, puzzle mechanic, traversal system, and lore artifact.
The experience follows an anonymous warrior entering an ancient fortress, discovering a celestial astrolabe, awakening its guardian, uncovering the connection between Saint George and the Dragon, encountering a mysterious Warden, and ultimately reaching a forbidden presence hidden deep within the fortress.
Artwork Sources — The Metropolitan Museum of Art
Dō-maru Armor — Player Character
https://www.metmuseum.org/art/collection/search/22505
Saint Michael — The Warden
https://www.metmuseum.org/art/collection/search/464613
Dragon — The Forbidden Presence
https://www.metmuseum.org/art/collection/search/49580
Guardian Lion — Guardian
https://www.metmuseum.org/art/collection/search/38449
Design for a Stage Set Showing the Interior of a Fortress or Dungeon — Environment
https://www.metmuseum.org/art/collection/search/343995
Planispheric Astrolabe — Core Gameplay Mechanic
https://www.metmuseum.org/art/collection/search/451699
Automaton in the Form of a Triumphal Chariot Drawn by Four Horses — Traversal
https://www.metmuseum.org/art/collection/search/207038
Shield Depicting Saint George Slaying the Dragon — Lore Artifact
https://www.metmuseum.org/art/collection/search/22411
Social Media Posts
LinkedIn
https://lnkd.in/p/g7QzvwWQ
Created with FLORA for the FLORA Museum Challenge on Contra.
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SIX SKIES explores what happens when details from museum objects are no longer confined to the scale in which we usually encounter them.
I selected six Open Access works from The Met, each carrying a distinct ornamental language from a different culture, and reimagined their patterns at architectural scale.
Instead of remaining on a ceramic object, stained-glass window, tile, jar, or dish, each ornament temporarily takes over the same ceiling inside The Met.
I imagined the ceiling as a projection or holographic installation: one architectural space capable of revealing different histories through light, pattern, and scale.
Armenian — Egg-Shaped Ornament
https://www.metmuseum.org/art/collection/search/478391
American — John La Farge, Welcome: Stained Glass Window from the Mrs. George T. Bliss House, New York
https://www.metmuseum.org/art/collection/search/9789
Syrian — Tile Panel, ca. 1430, Damascus
https://www.metmuseum.org/art/collection/search/457726
Iranian — Eight-Pointed Star-Shaped Tile
https://www.metmuseum.org/art/collection/search/444459
Korean — Dragon Jar, Joseon dynasty
https://www.metmuseum.org/art/collection/search/76114
Japanese — Dish in Shape of Japanese Court Woman
https://www.metmuseum.org/art/collection/search/46509
woooowwwww. it's perfect. i hope you'll win!
I went into The Met's open access archive looking for a textile. I found the pattern I wanted on a suit of armour instead.
Greenwich, 1586. George Clifford was Queen's Champion to Elizabeth I, and his garniture is etched and gilded with her cipher, two E's back to back, repeated across every plate from helmet to sabaton without a break. Not a badge on the chest. A repeat running over an entire body, worn by royal licence, three hundred years before any house put its initials on a bag.
So I took it off the steel and put it back on a body.
RUNNING CIPHER is one woven matrix and eight streetwear pieces cut from it, shot on Yorkshire moorland in winter with the sun never higher than eighteen degrees above the horizon. My first matrix was wrong: I kept the cipher at armour scale and it collapsed into generic damask. Enlarging it four times was what made it read as a garment print instead of wallpaper. That failed version is still sitting on the canvas next to the one that worked.
The casting carries the argument. Clifford's only child, Anne, was written out of the inheritance when her father left the northern estates to his brother. She spent thirty-eight years in court, won in 1643, and rebuilt the castles herself. The mark he borrowed from a queen is now worn by the women who took the land back.
Everything is on the canvas: the Met plates that fed the matrix, every rejected generation, the casting tests, the frames that did not make it.
Original work: https://www.metmuseum.org/art/collection/search/23939
Armor Garniture of George Clifford, Third Earl of Cumberland. Jacob Halder, royal
workshops at Greenwich, 1586. The Metropolitan Museum of Art, 32.130.6a–y. Open Access.
@floraai #FLORAMuseum
this is such a unique concept!
The Stove That Survived Time
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One ceramic stove survives years, destruction, and a changing world before becoming a specimen of the future.
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Behind the Process:
I used three versions of the same ceramic stove: the original, the ruined version, and the future version. AI created the time changes between them. The room gets older, breaks apart, and changes into a future world while the stove stays as the main object.
The Met library asset used:
https://www.metmuseum.org/art/collection/search/191259
Masterful as always, Deepika! Good luck!