Stage 3:

Putting it all together

As indicated above, Mongrel aims to develop the project further. It is intended to build on the experience of conducting the project's early stages in order to refine the project conceptually, as well as to incorporate material - skin samples,artifacts and portraits that will be accumulated as the project continues. Where possible, these will inform construction of the project's final stage.

The Game

At this stage, an interactive gallery installation will be made in the form of an arcade game through which the audience, artist and collaborators can continue to develop a self-reflective, interpretive, interrogation of national heritage issues, the process of racialisation and questions of new eugenics.

Details of this stage will be completely dependent on artists', audiences' and collaborators' responses to Stages 1 and 2. Plans for the construction of Stage 3 will not be formulated until repsonsive dialogues entered into during Stages 1 and 2 of the project have begun to determine the content and continuing features of the project. This, however, is the stage 3 plan and narrative scheme in outline:

A game in which a character of any one of four racial types (African heritage, East Asian heritage, South Asian heritage, Anglo-saxon heritage, for the purposes of simplicity here referred to as Black, Brown, Yellow, White respectively) is homeless, a crowd has surrounded him or her and is made up of one of the particular racial groups. The crowd is kicking and spitting on the homeless character and obviously beating him or her to death. The viewer is required to kill the crowd before they kill the central character. The crowd is made up from the scanned skin samples collected in stage 1 and 2 and could either racist in origin or not known. If the viewer kills all of the crowd doing the beating, then he or she becomes the central character and the racial scenario changes. The ultimate ambition for the user, if successful in all levels of the game, is to become a woman in bondage of his or her particular racial choice.

The basic scenarios are as follows.

Black on Black violence. Black on White violence. Black on Yellow violence. Black on Brown violence.

Brown on Black violence. Brown on White violence. Brown on Yellow violence. Brown on Brown violence.

Yellow on Black violence. Yellow on White violence. Yellow on Yellow violence. Yellow on Brown violence.

White on Black violence. White on White violence. White on Yellow violence. White on Brown violence.

As emphasised above, Mongrel expects that the work itself will alter according to the make-up of the audience in an as yet unspecifiable manner.