GAMESCENES

EVENT: NEVER ALONE: VIDEO GAMES AND OTHER INTERACTIVE DESIGN (SEPTEMBER 10 2022 - JULY 16 2023, NEW YORK)

Upper One Games, E-Line Media, and Ishmael Angaluuk Hope. Never Alone (Kisima Inŋitchuŋa). 2014. Video game software. The Museum of Modern Art, New York. Gift of E-Line Media. © 2022 E-Line Media

Never Alone: Video Games and Other Interactive Design

September 10, 2022 - July 16, 2023

Museum of Modern Art

11 West 53 Street, Manhattan, New York

Curated by Paola Antonelli, Paul Galloway, and Anna Burckhardt

 

press release

The Museum of Modern Art announces Never Alone: Video Games and Other Interactive Design, an exhibition that will investigate how interactive design informs the way we move through life and conceive of space, time, and connections, well beyond the game screen. On view in the Museum’s street-level gallery from September 10, 2022, through July 16, 2023, the exhibition will bring together notable examples of interactive design from MoMA’s collection, including computer interfaces, icons, apps, and 35 video games, 10 of which visitors will be able to play. This exhibition is grounded in the Museum’s history and commitment to collecting interactive design, from 1960s computer terminals to MoMA’s first selection of video games (acquired in 2012) to the websites of today. Never Alone: Video Games and Other Interactive Design is organized by Paola Antonelli, Senior Curator, Paul Galloway, Collection Specialist, and Anna Burckhardt, Curatorial Assistant, Department of Architecture and Design.

“The interfaces we use to access the digital universe are visual and tactile manifestations of code that both connect and separate us, and shape the way we behave and perceive life,” says Paola Antonelli. “Design is all around us, goes the adage, in everything we touch, use, feel, eat. Ever since digital tools have become ubiquitous, interactive design has become the conduit to systems of all kinds, from communication and information to transportation, supply, and more. It is in the touch commands on the screen of an ATM machine or of a smartphone, and in the interface of an ICU monitor. Interactive design runs a great part of our lives.”

Taking its name from the newly rereleased video game Never Alone (Kisima Inŋgitchuŋa) (2014), the exhibition will be organized into three sections: the Input, the Designer, and the Player. The first section, the Input, will focus on users’ physical interactions with the digital world through tangible objects like keyboards, joysticks, and touchscreens. The second section will examine the Designer’s impact on players’ experiences through early apps like John Maeda’s The Reactive Square (1994) and video games like Lucas Pope’s Papers Please (2014). These first two sections explore different aspects of the interface–where the user meets the machine—making clear that the design of the tangible object and digital experience are fundamental to the success of any interactive design, especially video games. In the third section, the exhibition will explore how the Player’s performance, choices, and interpretation define and reshape games and apps. Video games such as SimCity 2000 (1993) and Minecraft (2011) will be on view as examples of how players can create their own personalized worlds. These works demonstrate that a great part of the success of a game might depend on the player, not only on the designer.

The objects, interfaces, icons, and video games featured in this exhibition were selected as trailblazing examples of interactive design. The criteria for selecting video games were based not only on the aesthetic and narrative quality of each, but also on many other aspects—from the elegance of the code to the choreography of the player’s behavior—that pertain to interactive design. The criteria also focus on how the digital space is designed, flows, and morphs in time; how the game receives and conveys instructions and information via screens and input devices; and how a person interacts with them, whether digitally or physically.

The accompanying publication, Never Alone: Video Games as Interactive Design, written by Paola Antonelli, Anna Burckhardt, and Paul Galloway, explores the impact of interactive design by examining 35 video games created between 1972 and 2018—from Space Invaders (1978) and Pac-Man (1980) to The Sims (2000) and Minecraft. An overarching essay presents the pioneering criteria by which MoMA has selected these video games for its collection, as well as the protocols for their acquisition, display, and conservation. The richly illustrated plate section is divided into three sections that analyze input devices, game designers, and players.

Toru Iwatani. Pac-Man. 1980. Video game software. Published by NAMCO LTD. (currently BANDAI NAMCO Entertainment Inc.). The Museum of Modern Art, New York. PAC-MAN TM & © 1980 BANDAI NAMCO Entertainment Inc.

Bennett Foddy. Getting Over It with Bennett Foddy. Video game software. The Museum of Modern Art, New York. Gift of the designer. © 2022 Bennett Foddy

Lucas Pope. Papers, Please. 2013. Video game software. The Museum of Modern Art, New York. Gift of the designer. © 2022 Lucas Pope

Markus “Notch” Persson. Minecraft. 2011. Video game software. Published by Mojang. The Museum of Modern Art. New York. © 2022 Mojang

Jenova Chen (Xinghan) Chen. Flower. 2012. Video game software. Published by thatgamecompany. The Museum of Modern Art, New York. Gift of Sony Interactive Entertainment LLC. © 2008 Sony Interactive Entertainment LLC. “Flower” is a registered trademark of Sony Interactive Entertainment LLC. Developed by thatgamecompany

LINK: Moma

EVENT: IAIN DOUGLAS AND MARK COVERDALE (AUGUST 5 - AUGUST 18 2022, ONLINE)

FACING THE WOLF

machinima/digital video (1600 x 900), color, sound, 19’ 26” (chapter I: 5’ 15”, chapter II: 5’ 21”, chapter III: 8’ 50”), 2021, United Kingdom.

Created by Iain Douglas and Mark Coverdale

 

Facing the wolf is a machinima trilogy produced over the course of 2021 by appropriating and repurposing Grand Theft Auto V. The artists decontextualized the characters and locations of the original video game to tell a story of redemption and reconciliation, so that an uneasy truce with the past may be reached. In broad terms, these three videos reflect on war, loss, grief, and class struggle, themes which never seem to be as far away as they ought to be. As war has now become a reality for millions of people in Europe, Facing the wolf can be seen as a cautionary tale. Or, perhaps, a premonition.

Iain Douglas is an artist working with machinima, game engines, film, and materials like paint and plaster. Iain’s practice explores the themes of cultural and individual loss. For more information, please visit his website.

Mark Coverdale is a widely published performance poet, writing from the picket line, art gallery, and the terraces. Mark’s poems for these machinima are drawn from his interests in domestic industrial decline and the troubled events of the New European East. He lives and works in London. For more information visit his website.

WATCH NOW

EVENT: ULTRA UNREAL (JULY 22 - OCTOBER 2 2022, SYDNEY, AUSTRALIA)

Lu Yang, installation view, Ultra Unreal, Museum of Contemporary Art Australia, Sydney, 2022. Image courtesy and © the artist. Photograph: Alex Davies

Ultra Unreal
New myths for new worlds
July 22–October 2 2022

Curated by Anna Davis

Museum of Contemporary Art Australia
Circular Quay West
140 George Street
Sydney NSW 2000
Australia
Hours: Tuesday–Sunday 10am–5pm,
Wednesday 10am–9pm

press release

Ultra Unreal at the Museum of Contemporary Art Australia (MCA) features the works of six artists and collectives. Club Ate (Sydney), Korakrit Arunanondchai and Alex Gvojic (Bangkok & New York), Lawrence Lek (London), Lu Yang (Shanghai), and Saeborg (Tokyo) create worlds that blend myth and reality, simulating more-than-human futures, evolving belief systems and fluid frameworks of being.

The fantastical worlds created by these artists are grounded in personal experience and politics. Populated by hybrid creatures and genderfluid beings, their worlds are spread across physical and virtual spaces at the MCA.

Ultra Unreal reflects on the relevance of mythmaking and its role in navigating complex realities of the present. Drawing inspiration from Ning Ken’s theory of the ultra-unreal, it examines how mythologies can be used to reveal hidden histories and reorientate visions of the future.

Works by Club Ate and Saeborg have emerged from the politics of the dancefloor, embodying the vitalities of underground and LGBTQIA+ nightclub communities. Works by Arunanondchai and Gvojic, Lek, and Lu, similarly pulse with late-night energy and investigate ideas that include Sinofuturism, reincarnation, empathy and nonhuman consciousness.

Curator Anna Davis says, “The artists and collectives in Ultra Unreal ask questions about belief and technology, empathy and consciousness. In our complex present, thinking critically about the worlds we want to create and inhabit is more important than ever before.”

Lawrence Lek, Geomancer, 2017. Installation view, Ultra Unreal, Museum of Contemporary Art Australia, Sydney, 2022. Dingle-channel video, HD, colour, sound. Image courtesy and © the artist. Photograph: Anna Kučera

Exhibition highlights include:
Club Ate’s new video, sound and textile installation Ang Idol Ko / You are My Idol (2022) draws on Filipinx mythologies and club cultures to evoke queer, trans and animist idols for today. The installation combines ancestral figures from the Buwaya (crocodile) and Kinnari (bird) mythologies, and draws on historical accounts of the Babaylan; queer and trans shamans in the Philippines who act as intermediaries between visible and invisible worlds.

The brightly coloured rural world in Saeborg’s installation Slaughterhouse (2021–22) masks a darker commentary on gender roles and stereotypes in Japan. Using the role of livestock as an analogy for society’s treatment and expectations of women, Saeborg aims to highlight issues of gender-based power and control in human and nonhuman lives. Slaughterhouse began as a series of costumes and performances for the Tokyo nightclub Department H.

Lu Yang creates virtual environments to contemplate the nature of consciousness, suffering, death, and rebirth. “I imagine my worlds to be open-ended, non-binary and multi-dimensional” says Lu, whose digital worlds are populated with genderless avatars. Lu has been working on his latest avatar DOKU for several years. In this new series of works, DOKU appears in six different environments, each representing one of the six realms of rebirth and existence in Buddhist cosmology.

Exhibited for the first time in Australia, No history in a room filled with people with funny names 5 (2018) is from a series of works Korakrit Arunanondchai has been developing for the past decade. This fifth episode examines unseen forces shaping our reality, and relationships between humans and more-than-human beings in the context of contemporary Thai mythology. Made in collaboration with Alex Gvojic, the immersive installation features Tosh Basco as the Naga, a recurring character inspired by a mythical serpent and anarchic spirit that can take human form.

Named after a fictional drug for forgetting sorrow in ancient Greek mythology, Lawrence Lek’s series Nepenthe explores connections between memory, virtual worlds, and environments geared towards healing. Nepenthe AR is a new augmented reality (AR) project commissioned by the MCA Australia that invites visitors to discover a series of restorative worlds on each level of the Museum. Nepenthe AR (2022) was inspired by the phenomenon known as the “doorway effect”; when people forget why they have walked into a room as they enter it.

The exhibition includes daily screenings of Lu Yang’s Delusional Mandala (2015) and DOKU—Documentary (2020); Lawrence Lek’s Sinofuturism (1839–2046 AD)(2016), and Saeborg’s Pigpen Movie (2016).

LINK: Ultra Unreal

LINK: John McDonald's review of the exhibition

EVENT: PETRA SZEMAN'S OPENINGS!!! (AUGUST 3 - AUGUST 24 2022, ONLINE)

Petra Széman's latest artwork can be experienced in full glory at artreview.com until August 24 2022 as part of ArtLoversMovieClub.com.

‘Yourself’, the protagonist of Petra Szemán’s Openings !!! (2022) rides local trains through intermedial landscapes. Fragments of different worlds segue into view, signalling perceptual ruptures that seemingly force subjectivity outside of itself, into strange new relationships of interdependency and intoxication with the moving image. ‘There’s a world I can only see when I’m turned away from it’, they observe. Part of the artist’s ongoing exploration of the radical potential of animation and fandom, Openings !!! rejects its own filmic boundaries, surrendering instead to the free play of a multi-planar and ultimately elusive meta-worldview. Referencing anime credit sequences, video game loading screens and regional train journeys, Szemán’s film intensifies the gaps between the layers of animated imagery in an attempt to grasp the kinds of experience that may lie beyond human perceptual boundaries.

About the artist

Petra Szemán (they/them) is a moving image artist working with animation and game-like landscapes. Their practice focuses on the murky borderlands separating real and fictional, and the kind of lives and experiences that are possible there. Using a virtual version of themself as a protagonist journeying through animatic realms, they explore threshold situations and spaces to dissect the ways our memories and selves are constructed within a landscape oversaturated with fiction (both on- and off-screen) – to walk the line situated
between dystopian and utopian frameworks, eyes set on new queer horizons. Szemán graduated graduated from Newcastle University (2013-2017) with a BA in Fine Art, and has since exhibited at NEoN Festival, Dundee, Scotland; Big Screen Southend; BALTIC Centre for Contemporary Art, Gateshead; Fotomuseum Winterthur, Switzerland; ICC, Tokyo; and The Photographers’ Gallery, London. After spending two years in Japan as a recipient of a research scholarship from the Japanese Ministry of Education and Culture (2018-2020), Petra is now based between North-East England and Tokyo, Japan. They’re currently running ‘On Animatics’, a project to commission video works that fuse moving image, games and anime; and co-authoring the accompanying book WEEB THEORY with Jamie Sutcliffe (Banner Repeater, 2022).

LINK: Openings!!!

LINK: Petra Széman

EVENT: YALOO AND SIAN FAN MY GARDEN, MY SANCTUARY (JULY 21 - OCTOBER 9 2022, LIVERPOOL)

View of My Garden, My Sanctuary, FACT Liverpool, UK, 2022. Photo: Rob Battersby.

Yaloo and Sian Fan
My Garden, My Sanctuary
July 21–October 9, 2022

Curated by Carrie Chan

FACT Liverpool
88 Wood Street
Liverpool L1 4DQ
UK
Hours: Tuesday–Sunday 11am–6pm

press release

FACT launches the summer exhibition My Garden, My Sanctuary: a collection of new, immersive artworks by Yaloo and Sian Fan—two artists using creative technology to tell stories of ancestry and self-discovery in a hyperconnected world.

Presented by FACT’s 2022 Curator-in-Residence, Carrie Chan, My Garden, My Sanctuary immerses visitors in playful, watery worlds. From anime and K-pop, to lotus flowers and seaweed, artists Yaloo (South Korea) and Sian Fan (UK) weave commodified symbols of east Asia throughout their work to reclaim their cultural identities, and remix their coming-of-age stories. The new commissions transform the galleries, taking shape as large-scale animated installations and interactive gaming environments.

Combining ancient Korean traditions and beliefs with family histories, Yaloo presents a mystical installation environment. Birthday Garden (2022) begins with a temple-like gateway, leading visitors into an underwater seaweed garden and giant, animated sheet mask. The work explores the challenge of shaping self-identity and cultural stories against the commercial context of Korean culture within global media.

As part of FACT’s work around how young people craft and embody digital identities, Yaloo expands on the themes in her work to include young people’s views and critique of popular culture and social media. A series of conversations with members from the University of Liverpool’s K-pop Society, and a group of young people from Liverpool, will result in a K-pop inspired dance, public performance and a podcast documenting their creative process.

Sian Fan, Lotus Root, 2022

Sian Fan combines imagery found in anime and fantasy video games with commercialised depictions of East-Asia. In her new commission Lotus Root (2022), Sian presents an anime fantasy video game set in a sanctuary of lotus flowers and lily pads. Hyper-real avatars are nestled within the space, inspired by the characters from anime series Sailor Moon and video games Final Fantasy and Grandia. Deity (2022) is a shrine to the virtual self. Multi-angle ‘mirrors’ wrapped in root-like sculptures present a digital performance, combining motion capture and physical movement. An avatar of the artist responds to audience interaction, revealing the connection with our virtual selves. The immersive installations challenge romanticised ideas of East-Asian culture and standards of femininity found in gaming and animation.

Sian Fan, Deity, 2022

Established in 2019, FACT’s annual residency programme invites curators to develop their ideas and research into a major exhibition and public programme of events. Carrie Chan, 2022 Curator-in-Residence at FACT, said: “The exhibition has been curated to feel like a rite of passage: a journey where visitors encounter two artists whose works reflect on their own identities and cultural heritage within a technology-driven, alternative world. My residency at FACT has enabled me to explore diverse curatorial approaches in narrating stories on ancestry, identities and belonging, and has given me the opportunity to bring two acclaimed digital media artists to Liverpool – a city with a strong history of Asian immigrants and diaspora.”

My Garden, My Sanctuary forms part of Radical Ancestry, FACT’s current year-long programme. Maitreyi Maheshwari, Head of Programme at FACT, said: “From ‘alternative museums’ of artworks that question how science and technology have shaped our understanding of the past, to the ways in which the stories and songs we inherit help define key moments in our lives, the Radical Ancestry programme is an exploration of our changing sense of self. This exhibition continues our journey from the past into a present in which the artists playfully remix symbols from their familial heritage with pop cultural references, creating new possibilities and hybrid identities. Carrie has introduced us to ambitious new artists whose outlooks and practices convey the energy and the difficulties in trying to forge a new way of being.”

My Garden, My Sanctuary is now open at FACT until October 9, 2022. The exhibition will be accompanied by a public programme of family friendly events including food-based workshops, curator tours, a talk exploring stereotypes and representation in gaming, and artist performances.

LINK: Yaloo And Sian Fan My Garden, My Sanctuary

EVENT: FEDERICA DI PIETRANTONIO (JULY 22 - AUGUST 4 2022, ONLINE)

but I wanna keep my head above water

digital video/machinima (1920 x 1080), color, sound, 10’ 30”, 2022, Italy

everynight i try to find the light but sometimes its too cold

digital video/machinima (1920 x 1080), color, sound, 1’ 01”, 2022, Italy

everynight i try to find the light - prélude

digital video/machinima (1920 x 1080), color, sound, 00’ 51”, 2022, Italy

Created by Federica Di Pietrantonio

viewer discretion is advised

 

Wet, steamy, and sticky. Federica Di Pietrantonio takes the viewer into her neon lit lavatory. In this humid, slushy environment, gender identities become fluid and seemingly solid architectures suddenly splinter. The camera lingers on a virtual nymph’s ecstatic expression as water drips slowly and then faster. Moments of intimacy are shared. Crevices are explored. Surfaces are scrubbed. This highly immersive experience will leave you soused.

Federica Di Pietrantonio (b. 1996) studied painting at the University of Fine Arts in Rome. After receiving her B.A. in 2019, she did a residency at KASK (Ghent, Belgium), where she developed the project Vacation Spot with The Sims. In 2017, Di Pietrantonio was selected for Mediterranea 18 Young Artists Biennale and the following year she began a collaboration with Spazio In Situ as an artist and web designer. Her work has been exhibited in Italy, Belgium, and Portugal. She currently lives and works in Rome.

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GAME ART: BOB BICKNELL-KNIGHT NON-PLAYER CHARACTER (2022)

Bob Bicknell-Knight, Non-Player Character, 2022 4K video with sound, 3D printed USB drive 9' 38" (lower resolution version embedded here)

 

Bob Bicknell-Knight's latest project is entitled Non-Player Character. Commissioned by Petra Szemán, Non-Player Character is a looping CGI video exploring the inner lives of non-player character’s (NPCs) as a metaphor for the boundaries of human action within an increasingly algorithmic, surveilled existence. 

NPC is an acronym used to indicate characters in video games controlled and managed by the machine. Their behavior tends to follow predetermined and/or recognizable patterns. They do not have an independent, autonomous life, but are de facto subservient and functional to player's prerogatives. As Bicknell-Knight writes, "they are stuck in the game world, doomed to repeat the same day for eternity, waiting to be interacted with".

In his video, the British artist explores the feelings and emotions of NPC, which, in turn, reflects the lack of agency and autonomy experienced by the vast majority of living human beings as they are unable to enact real change in the world as they are dominated by higher forces, from the world of finance to the will of corporations, from increasingly pervasive bureaucratic systems to the inertia, greed, and corruption of the political class. 

The video shows NPC slowly plummeting from the sky. They fall into a Stanley Kubrick's sterile white environment, evocative of a White Cube. The characters break apart upon hitting the ground and their fragmented bodies are instantly recycled to produce endless copies of their own selves. The video is accompanies by a relaxing soundtrack featuring monologues from the POV of the NPCs. Their share horror stories about their meaningless lives in a world devoid of free will. Hell is other NPCs.

Interestingly, Non-Player Character physically resides on a 3D printed USB drive resembling the arm of a Deathclaw from the Fallout video game series.

 

 

 

LINK: Bob Bicknell-Knight

EVENT: FILE. ELECTRONIC LANGUAGE INTERNATIONAL FESTIVAL 2022 (JULY 13 - AUGUST 14 2022, SAO PAULO, BRAZIL)

FILE: Electronic language international festival 2022 SUPERCRIATIVIDADE

July 13th to August 14th, 2022
Edifício Banco do Brasil /Torre Matarazzo
Av.Paulista, 1230, Bela Vista, São Paulo/SP

 The theme of the amazing Brazilian festival is SUPERCREATIVITY, which is described by the organizers and founders of FILE, Ricardo Barreto and Paula Perissinotto, as

Creativity overcomes obstacles and builds new realities. In each moment, as said in Philosophy, art lies confined in the cloister of its time. From time to time, however, creativity produces gaps that enable art to break through into new realms. And it’s almost a norm to say that creativity is an exclusive property of art.
Creativity is not limited to the arts. It also takes place in all disciplines of Culture. Thus, in the aesthetic sense, it ceases to be creativity and becomes Supercreativity: the sum of all creative engines that permeate and connect to our culture. In economics, we see it emerge in Joseph Schumpeter’s “destructive creativity” and Clayton Christensen’s “disruptive theory”. In mathematics, we see it in the creation of Alan Turing’s universal machine, in John von Neumann’s autonomous cells and in Claude Shannon’s logic electronic circuits. They created, along with many other creative geniuses, the intelligent machines that originated Artificial Intelligence. Supercreativity, however, is not a property of Artificial Intelligence, but its very inventor. Supercreativity, teaming with Artificial Intelligence or not, is and will be the main condition to the world’s development in all its nuances.

This year's program features an insane amount of terrific projects, including (but not limited to):

Lu Yang – The Great Adventure of Material World (China)

Jon Rafman – Disasters Under the Sun (Canada)

Leo Castaneda – Levels and Bosses – (United States, Colombia)

Save MeOh - Save Generosa (France)

Glasz DeCuir You Have NO CHOICE. Yes I saw an angel (Spain)

and many more...

Of huge interest for this space is a special program entitled

ANIMA+GAMES 2022 – Augmented Reality
FILE ANIMA+GAMES 2022

Featured artist: Raquel Meyers (Spain)

Conception: Ricardo Barreto

Curatorship: Clarissa Oliveira

Design: Estúdio Quadradão

Guest artist and performer Raquel Meyers talks about using obsolete technologies to create real-time animation, storytelling and 8-bit aesthetics.

Featuring works by

Melodie Mousset – HanaHana AR  (France, Switzerland)

Theo Triantafyllidis – Genius Loci AR(Greece)

Amanita Design – Samorost 3 (Czech Republic)

Dinosaur Polo Club – Mini Metro (United States)

Giant Squid – The Pathless (United States)

Joel McDonald – Prune (United States)

Ludopium Studio – Vectronom (Germany)

and many more...

LINK: FILE 2022

CALL FOR ARTWORKS: HOPS AHEAD: THE ART OF ALTERNATE HISTORIES, PRESENTS, AND FUTURES (DEADLINE: JULY 31 2022)

The International Conference on Interactive Digital Storytelling (ICIDS) has released the 2022 Art Exhibition's call for work.

It's available here.

This year's curators are Clara Fernández-Vara and Nick Montfort, and the deadline is July 31.

This year's theme is "Hops Ahead: The Art of Alternate Histories, Presents, and Futures." It is inspired by the 60th anniversary of Julio Cortázar's novel Rayuela (in English, Hopscotch), which connected a well-known game with the novel in February 1963, inviting readers to encounter the text in more than one order. We welcome submissions that explore the potential of interactive narrative to envision alternate and future realities in the following themes

• Alternate histories, presents, and futures
•  Social connection and disconnection
• Cultural universals and differences
• Working across languages
• Playful words and languages

Artworks are welcome in (at least) the following forms and formats:

• Browser-based interactive digital art
• Electronic literature
• Parser-based interactive fiction
• Narrative-driven games
• Twine games/"Twines"
• Visual novels
• HTML5 narratives / games
• Bitsy games
• Art installations
• AR, VR, and XR works

 

LINK: Hops Ahead: The Art of Alternate Histories, Presents, and Futures

BOOK: FEDERICO SOLMI: ESCAPE INTO THE METAVERSE (2022)

 

The idiosyncratic artistic practice of Italian expat Federico Solmi is the subject of a new monograph from Black Dog Press. Entitled Federico Solmi. Escape into the Metaverse, it features contributions by Cleveland Johnson, Lawrence Weschler, Eleanor Heartney, and TokenAngels. Solmi was born in Bologna, Italy in 1973 and subsequently moved to New York. Around 2003, he began to experiment with video game and digital  technology, fascinated by the world-building possibilities of 3D  graphics, which he saw as a tool to create bizarre video animations mixing drawings and paintings. Federico Solmi. Escape into the Metaverse will be released in October.

 

You can pre-order the book here.

 

Read more about Federico Solmi