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Dishonored 2: The unconscious body piles exhibition

The Walker Collection

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I took last week off to play Dishonored 2 [official site]. That might seem strange, but this was a game I didn’t want to play for work. I wanted to approach it completely differently, play it like I would play games when I was a teenager, no pressures to produce copy by a deadline, no weighing up pros and cons as I went, and most of all, the liberty to luxuriate in playing slowly, meticulously, without worrying that I’d not reach the ending before the internet had moved on. So of course I’ve got so much to write about it now, because apparently I can’t switch off the work bit of my brain. I’ve got a few features half developed, but I thought I’d get the most important and pressing article done straight away. Here’s a gallery of the piles of unconscious bodies I left on my way.

Sorry some are murky, not that I’ve absolutely any idea what being able to see piles of bodies more clearly is going to offer anyone. You can click to make them bigger though. I’d already edited all the pics before realising just how weird a thing this is to have done. But hey-ho, demand your money back. Click on the images to see them lots bigger, and enjoy my artistic progress, as I develop from simply dumping them in roughshod piles in gloomy corners, to arranging them in diorama, before my great dénouement of seeing how big of a pile I could create.

I like to think things start off well. This isn’t just a couple of sleepy bodies dropped in a corner. This is a splendid pile of identical blue guards, topped off with one red guard. I call it I Scream Sundae.

These three chaps could well be having a lovely sit down after a hard day’s grumbling about their hive-mind complaints, or stamping on rats. But actually they’re half-strangled and sleeping it off.

This is more emblematic of my early work, where I took a more rough-n-ready approach, just dumping them atop one another. Here there are actually probably five drowsy victims – count the limbs.

This piece is called, The Kitchen Is Fully Stocked.

I dedicate this work to the anonymous artist behind Casualties Of The Paris Commune, 1871.

Lie Back And Think Of Serkonos

Victory For The Common Man

Here we enter my mid-period pieces, where I begin to experiment with scenes, almost telling short stories with the arrangements. Here I think is clearly portrayed the tale of two uncles reassuring a concerned nephew about his upcoming exams.

I shall be honest here. In the first of my Witch Works, my goal was to arrange the sleeping sorceresses in a pentagram, but this proved a small degree of effort and instead opted for a more freeform glyph.

As you can see, this is more typical of my mid-period oeuvre, the second of my Witch Works, which is entitled, Waiting For MacBeth.

And now, bang up to date, my most recent piece, tentatively titled “GARGANTUA”. It’s interesting to note how the human eye attempts to deny the true scale of the pile here, assuming only the visible surface to be made of bodies, perhaps piled up over a discarded cabinet. That is not the case – this is bodies all the way down. A mixed media of traditional guards, some witches, and uniquely in this collection, some actually dead bodies previously killed by another artist and left lying around for me to procure. It’s composed of approximately twelve bodies in total, and pushed my chosen medium to its very limits, as Dishonored 2 really doesn’t like it when the piles get too high and starts having them supernaturally wiggle their way loose to slough off to the floor. Achieving this height was no mean feat. £3,500.

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Who am I?

John Walker

Senior Editor

One of the original co-founders of Rock, Paper, Shotgun, I'm now a senior editor and hero of humanity. Old and special.

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