Snaps of LFT serial numbers and screenshots of train times for a trip to Margate.
The tiled floor of a shelter down on the seafront where T.S.
Eliot once sat and wrote “On Margate Sands./I can connect/Nothing with nothing.”
One picture next to another, the invitation, perhaps, to connect Something with…?
Toem review
I love Toem.
And I should warn you up front Toem has absolutely zero to do with T.S.
Toem’s camera roll is fantastic.
I finished Toem last week, so what’s this?
A yeti outside his cave.
A huge snowball on what looks like a plinth.
A tiny mousehole in brickwork.
A woman standing behind a burger.
A creature hiding between trees.
Photography games are always a reminder of what video games can be - whatelsethey can be.
That yeti: he wanted to see a picture of something as fluffy as he was.
The tiny mousehole was an incidental detail I just felt like capturing.
The woman with the burger was an influencer looking for a picture that would blow up on social media.
The creature hiding between the trees - well…
Toem is all like this.
People and animals are cartoons outlined in thick pen lines, paper thin but beautifully animated.
Trees and shrubbery are doodles that have retained their brisk off-the-cuff energy.
There are log cabins and beaches as you move from one area to the next, cities and mountains.
Some of the challenges you’re given are pretty straightforward.
Pictures for the sake of pictures, as you move across bustling dioramas filled with gentle intrigue.
The colour scheme does so much for this game.
The grey here is so inviting.
I didn’t want Toem to stop showing me new stuff.
I didn’t want to go home.
Taking pictures for people, solving their modest problems, exploring their intricate, beautiful, lived-in places.
The person whose socks I returned.
The ghost whose chores I performed.
Toem is an absolute dream.
