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INTERVIEW WITH SHUNGA GALLERY
As you know, I don’t say a lot about myself – but sometimes I talk about my work.
Thank you Marijn and the Shunga Gallery for giving me the opportunity and welcoming me to your sumptuous site.
Read the full interview: shungagallery.com/apollonia-saintclair
To live in a house by the cliff by the sea.
https://archive.org/details/housegarden132julnewy/page/n95/mode/2up
(3/3) “When you sit in this garden on a summer day, you hear things. There are fourteen homeless shelters within a four-block radius. So when it’s hot outside, and the windows are open, you can hear the stress of poverty. Sometimes mothers will yell at these kids like they’re grown men. They’ll call them names. They’ll tell them: ‘you can’t,’ and ‘you won’t.’ And after awhile the kids start to believe it. When they first come into this garden, they’re so freakin’ happy. Especially the really young ones. But at the end of the day, they’ll say: ‘I’m going home.’ And home means shelter. It’s an epidemic, man. 115,000 kids in this city are living in shelters. It’s a freakin’ epidemic. But it’s invisible. You’d never know these kids are homeless, because they’re so happy. But something happens around 9, 10, 11. I see it all the time. Those eyes dim, man. It’s just life. There’s too much stress around here. And they grow up fast. They lose that light. I just want to slow it down, that’s all. I want them to have a safe place where they can just be them. That’s all any of us want, right? To slow it all down so we can find out who we are? I was such an arrogant motherfucker when I first came here. I was unhealthy. I was 52 lbs heavier. I was depressed. My entire life was about things and money. I was doing it all wrong. Yet I came to this school thinking I knew all the answers. I thought I was going to fix these kids. But they were so fucking happy, and I wasn’t. They didn’t need to become like me. They needed to stay like them. It hurts my heart to say, because it means I’m getting old, but Nevaeh is all grown up now. She’s sixteen. Straight A student. Honor roll up and down. I still do my best to help her whenever I can. Recently she had a C in math, so I said: ‘Let’s find you a private tutor, I’ll pay for it.’ But she wouldn’t let me. She grabbed the rake out of my hand. She said: ‘No Mr. Tony, I got this myself.’ And she got a 93 on that final. She was the tiniest little thing when I met her. With glasses so big. But even back then she had everything she needed. It just required a little protection. And a little time. She just needed some space to grow.”
We’re putting together a very unique and fun opportunity to support Harlem Grown in the next couple days, so stay tuned. In the meantime you can support Tony’s effort by ordering his wonderful children’s book ‘Harlem Grown’ wherever books are sold. Tony donates all his earnings back to Harlem Grown. You can support indie bookstores by ordering here: https://bit.ly/harlemgrownbook
Phelios (Sega Genesis), 1990.


I’ve had these screenshots sitting in my drafts for a minute. Not sure of my intent, but at the very least it’s an interesting contrast.
The first screenshot is Mega Man Legends on the PlayStation from 1997 (1998 outside Japan), and the second is from The Legend of Zelda: Ocarina of Time (1998). I don’t think either screenshot is from the original hardware, or at least not as the games would have appeared on CRT televisions of the time.
As contemporaries, it’s fair to compare them as action-adventure games in which a player radiates out from a central hub to explore the world and its dungeons. Mega Man had a more robust customization system for its weaponry and the dungeon designs are fairly generalized to accommodate a broad array of weapons and tools, whereas Ocarina continues the series legacy of specialized dungeons designed around specific items. Mega Man also has a more boxy aesthetic to its characters and world, while Ocarina is more naturalistic in its palette and geometry. In terms of animation, Ocarina has nothing on the expressive anime-inspired characters faces from Mega Man, perhaps the most memorable aspect of the performances in that game. The main knock against Mega Man Legends is that its camera is based on the PlayStation original controller without analog sticks, and so movement and camera control is stiff and not as pleasant as the Nintendo 64′s camera experiences (or later PlayStation games that utilized the DualShock controller).
But the strongest feeling here is unexpected joy. I rented Mega Man Legends from Blockbuster Video three times before I finally bought it. I can’t say what compelled me to initially rent it (perhaps just a spotlight in a game magazine and a general interest in Capcom’s work at the time), but as I played through it and then kept going until I explored every nook and cranny, I realized this was a game that could fulfill what was missing as someone who hadn’t owned Nintendo’s SNES and Nintendo 64 until may years later. I was just not getting these Zelda and Mario experiences that so many raved about, and so I looked for surrogates. Mega Man Legends unexpectedly filled that role and then far exceeded my expectations. It’s a game of light-hearted adventure, pirates, and robots, but also explores themes of legacy and the expectations of previous generations on those who must make lives of what was left behind. It has so many fun character moments and part of the joy is just getting to know the inhabitants of Kattelox Island as they struggle to “eke out a living on the small patches of land that remain above the sea.” It’s Waterworld, it’s robots, it’s anime. There’s so much there.
Capcom produced a sequel and a side game starring the anti-hero Tron Bonne, then dropped it for years. There was a brief attempt to pick up the cliffhanger ending from Mega Man Legends 2 with a third game, but the project died when the series director left Capcom and there’s little hope of seeing any more games in the series. The good news is that the three main games in the series are available digitally for PS Vita and PS3 through the PS Classics label on the PSN store. All worth checking out!
Céline
Photo Philippe Denis

















