![]() So the pew-ah, pew-ah, pew-ah of lock-step Space Invaders cut the silence. Gamespace is only open eight hours a week, on Saturday and Sunday afternoons. The second floor, a gear switch, is a walk-through of early game history, told via wall text, a scatter of original “artifacts” (a vintage Super Pong Tele-Games console from Sears) and several (playable) classics, some running off of gaming consoles, some running off of laptops. There’s a turntable spinning the terrible novelty song “Pac-Man Fever,” and there are newspaper articles on Pac-Man, and Pac-Man cereal, and strange alternative Pac-Man designs. There’s an old copy of Time magazine on the exploding popularity of the video game, there are original Atari joysticks, there’s the Atari 2600 home adaptation of Pac-Man, playing properly on an old thick tube TV. There’s a goofy photo of someone in a Pac-Man costume outside the old Franklin Park headquarters of Midway, the Chicago game company (now defunct) that introduced the Japanese game to North America. Video footage of the game’s creators and the early ’80s Pac-Man phenomenon play in a loop. You’re greeted by original Pac-Man and Ms. Right now, through spring, it has a history of Pac-Man. When Gamespace opened in September, it held a show on the art of the role-playing game Cyberpunk 2077 this summer, it will present the work of Jordan Mechner, the conceptual artist behind the Prince of Persia franchise. ![]() “No, no, you should absolutely laugh,” Kinkley said brushing off my rudeness, “but the Strong started small, and I am using a good model - and I am going to get there.”īehind Gamespace’s brick facade, here’s what I found: As you enter, you are standing in an apartment loft doubling as a mutable exhibition space. ![]() Of course he did: His day job is executive director of philanthropy for the Art Institute of Chicago. ![]()
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