anna anthropy: queers in love at the end of the world

Artist: Anna Anthropy 

Artwork: queers in love at the end of the world 

queers in love at the end of the world is an incredibly beautiful game from game artist Anna Anthropy. This game was made using a tool called ‘Twine’ and introduced me to the possibilities of Twine and its flexibility and responsiveness as a game making tool. 

The piece uses a timer to limit interaction. You are only able to play for 10 seconds at a time before the game resets and you have to start again. In this way, the game captures a real sense of presence and ephemerality. Despite the fact that the game lasts forever, it always feels as though it is slipping through your fingers. 

For me, works that exist at the digital/physical boundary aren’t just digital pieces in physical spaces, they are also experiences that transcend the digital, make you move and act in space differently, or alter your perception of things outside the digital world. 

I think there is space to be surprised by the presence and ephemerality of digital works, the ways they can build communities, the way they can re-render our relationships with our world. The ways they negotiate their relationships with us as we negotiate our relationships with them. 

Response: Exercise

What is the relationship between the work and time? 

Does time ‘bound’ the work in any way? 

Is there a specific time you have to experience the piece? Why is that important? 

Is there any boundary on how long you can experience the piece for? Why is that important? 

If there is flexibility – then experiment – 

What happens if there are only specific moments when someone can experience the piece? How does this alter the experience people have? What importance and weight does this moment then begin to hold? 

And equally, what if the piece is always accessible? How does this change the way people relate? 

Pick a specific moment in the piece. What happens if this moment is time bound? i.e. it has to take place in 10 minutes.

What if the moment can take as much time as people want?

If the practice is inherently ‘bounded’ i.e. a theatre piece that starts at 7 and ends at 10, consider how you can challenge this. How might the experience start before 7? What happens if it continues after 10? Does it need to just stay in the theatre space? How can the story, how can the experience spill out? How does this change the audience experience? What does this new relationship with time offer?