The following pieces were shown at a separate exhibition at Galleri Box, Göteborg, January 2003. All three are game mods made with the Unreal Engine, from the Unreal Tournament Game of the Year edition.
“. . .and then you die!”
This piece consists of a thin path formed as an ascending spiral. Any move by the visitor outside of the small platform or the thin path will end up on the ground below, with overly exaggerated screams and gory effects as the character dies. The path seen from above forms an infinity sign, so as to be a metaphor for an eternal loop as opposed to a linear progression. By walking upwards the visitor meets different distractions in the form of peeping holes that proves to be a form of punishment. They are pulled into the hole, killed, and forced to watch different looped sequences. Then it starts over again at the beginning, the bottom of the path. The cyclic element of the whole piece stands in contrast to the feeling of progression as the visitor get better and better in walking up the thin path. There seems to be a end point at the top, but this turns out to have the same result as before: the visitor is forced into a circular eternity.
This one Belongs to Heaven
In this piece the visitor is placed on top of a large ‘ski jump’. The object is to hit one of the three holes on the ground. Even though the visitor should succeed in this, the result is similar to what happens in “…and then you die!”. When you hit the ground and die, you are moved back to the top of the ski jump again. The holes, which are there to tempt the initiative of the visitor, are traps which lead to immediate death. The film sequences inside the holes are the same, the visitor is forced into a cyclic chain of events, just as in “…and then you die!”
Ballpark is a bit different from the two other pieces. The strong focus on life/death and gratification is gone, even though the visitor might be unaware of it at first. The visitor hopefully expects something similar to the other two pieces in the first room, but in Ballpark the gratification is inverted. There are no active elements in the piece, and it is impossible for the visitor to die or inflict any damage. Instead, the visitor must walk trough a huge landscape without ever finding anything. I wanted this to function as both a contrast for the other pieces, to enhance their focus on the binary life/death symbolism, and as a resting place for the exaggerated effects and spectacle of the other two pieces.