(single-Channel HD Video 2024,music by yun.ling)
Source; Messenger: consisting of two versions: a game and a music video based on clips from the game’s visuals. It juxtaposes the operational logic of game engines with the ancient mythological framework of “Creation Myth” exploring the relationship between primal beliefs and modern technological ideologies.
The frenetic expansion of technology mirrors the decay cycle of capital logic. Super algorithms drive the proliferation of data, consuming and scanning everything, then copying and pasting until a new void expands and explodes into the possibility of a new world. This process resembles the rediscovery of a new continent, or perhaps it’s more akin to a grand real estate development project—or simply a “world” within a game engine, a subtle and fragile ecosystem. In its initial stages, the material that exists is seen as a sacred crystallization, and within an environment built from scratch, all interactions between the elements and their surroundings become extraordinarily sensitive and mysterious.
The core of the game is constructed within a virtual world generated by development tools. Everyday electronic devices (such as routers, game controllers, VR headsets, and avatars) scan and generate data, which, both randomly and inevitably, become the primal remnants of this world, blending with the natural environment simulated through physical algorithms. Players, as digital nomads, wander through this world, which is infused with primitive energy. In this digital development zone, the player’s digital avatar becomes the agent that interacts with the environment and the material world. The act of movement is both a bodily instinct and a form of cryptographic communication between the player, the natural environment, and the ruins. The player’s actions and the environment are in constant interaction, with the world’s changes and chaos shaping a new conception of nature—whether through deciphering or simply through a coincidental resonance.
WANG YUCHEN 王宇琛 