Similarly, there are spaces where the character can float or fly, but it often feels like you’re stuck in molasses rather than really soaring. I’m not saying the game needed to be Starfox 64 3D or Doom, but from a later bit where you pick up the phone and hear Yorke’s distorted yelling through the speaker, it feels like there were opportunities left on the table. There are other rooms, particularly for the National Anthem, which feel like there could have really been more going on. There’s a tunnel of blue spikes that feels like the rhythm horror game Thumper. There’s a space where you fly around waves of digitized cubes, and watch them shoo away from you as you come into contact. In some cases, I wish the game would have pushed the limits a bit more with its interactivity. Overall, though, I came away extremely impressed and surprised by where the game led me. While there are certain pieces here that really feel like they’ve brought some new ideas to the table that haven’t been seen in games, there are other hallway areas that feel a little more traditional - as though they were transferred from one of the number of first-person horror titles like Amnesia. The quality of the music and visuals on display here are top notch ( naturally), not just in the original artworks that have been reproduced and essentially reframed in virtual gallery rooms, but also in how they’ve been enhanced into new, gorgeous, razor sharp scenes of light and texture. “The sheer amount of different surfaces, objects and artistic styles. The sheer amount of different surfaces, objects and artistic styles make an ostensibly short trip down Radiohead's memory lane feel grand and diverse. The game tells the player which songs a route will lead to, as there are multiple interlocking ones that all lead to a final credit sequence - which looks and feels inspired by the side scrolling segments of Nier: Automata - and back to the woods. After a series of Starchild-from- 2001-esque hallways, you move on to a pyramid hub - which reads more like a sci-fi monolith right out of Control. You start in the woods, which seems chalky and hand-drawn, and little sharp-toothed bears from the Kid A cover watch you from behind the trees. Other rooms are essentially large-scale equalizers. Some rooms are filled with stick figures laboring away to keep the walls and windows of the exhibit clean, adding a strong metafictional element to the whole space. You’ll find yourself engorged enough in its world to sit through entire songs, as structures morph and evolve around you. KID A MNESIA EXHIBITION is out now for free on Epic Games Store.For something that can be experienced in about an hour, Kid A Mnesia: Exhibitionis absolutely jam packed with astounding artwork and spaces poached from nooks of the band’s unreleased catalogue, lyric sheets and bits of poetry from Kid A and Amnesiac, and artwork from Thom Yorke and Stanley Donwood. Explore the KID A MNESIA EXHIBITION yourself. There are surprises at every turn that you should experience without a guide. At one point, I was abducted by three songs and left to float amidst crumbling artworks until the final chord. Art sits in frames, but it’s also scratched into walls, or brought to life as towering panoramas. I have a mental map of every note, every breath on Kid A and Amnesia, but I still got lost in the weird, Ballardian space of the exhibition’s halls. Throughout the exhibition, Radiohead’s music will rebuild itself around you. All around you, Everything In Its Right Place seems to endlessly remix itself. Up close, those walls are made of RGB pixels. Inside, welcoming you, is a corridor of flickering, smearing walls. You stumble through a sketched out forest towards a red door. That includes re-releases of Kid A and Amnesia, albums from over two decades ago, joined by Kid Amnesiae, “a memory palace of half-remembered, half-forgotten sessions & unreleased material.” It’s a collection of rooms, corridors, and spaces inspired by and filled with music and art from the recent KID A MNESIA release. The type who knows the lyrics to their songs before they’re officially released, but even I was surprised by the dark, playful exploration of the exhibition.
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