Third World: The Bottom Dimension is a single-player PC game conceptualized by Gabriel Massan and built with a wide team of collaborators. It explores Black Brazilian experience as it intersects with the ramifications of colonialism across physical and digital realities. The game is inspired by simulation games like The Sims, which model social interactions between artificial lifeforms; cultural historian Saidiya Hartman’s methodology of Critical Fabulation, which uses storytelling to address archival omissions and generate possibilities; and the ‘consciousness-raising’ theories of radical Brazilian educator Paolo Freire. Freire’s influential book Pedagogy of the Oppressed champions harnessing individual experience to transform reality and effect social change.
This decolonial game aims to challenge the systems and behaviors that have built our social realities by using worldbuilding and storytelling techniques. Across two interconnected but distinct levels co-designed with artists Castiel Vitorino Brasileiro and Novíssimo Edgar, with sound design by LYZZA, each level or ‘episode’ in the game brings ideas central to the collaborators’ practices into the lore of Third World. This evolving and cinematic experience nurtures a growing awareness that leads players towards an expanded understanding of this world and the discourses, stories, and histories it simulates.
Gameplay becomes an exercise of balancing competing consciousnesses: one imposed by the game’s extractive ‘Headquarters’, which is modelled around colonial concepts of ‘exploration’, ‘nature’, and ‘knowledge’. Others are gradually revealed through play, and propose alternative ways to navigate in the world.
Third World: The Bottom Dimension is a single-player PC game conceptualized by Gabriel Massan and built with a wide team of collaborators. It explores Black Brazilian experience as it intersects with the ramifications of colonialism across physical and digital realities. The game is inspired by simulation games like The Sims, which model social interactions between artificial lifeforms; cultural historian Saidiya Hartman’s methodology of Critical Fabulation, which uses storytelling to address archival omissions and generate possibilities; and the ‘consciousness-raising’ theories of radical Brazilian educator Paolo Freire. Freire’s influential book Pedagogy of the Oppressed champions harnessing individual experience to transform reality and effect social change.
This decolonial game aims to challenge the systems and behaviors that have built our social realities by using worldbuilding and storytelling techniques. Across two interconnected but distinct levels co-designed with artists Castiel Vitorino Brasileiro and Novíssimo Edgar, with sound design by LYZZA, each level or ‘episode’ in the game brings ideas central to the collaborators’ practices into the lore of Third World. This evolving and cinematic experience nurtures a growing awareness that leads players towards an expanded understanding of this world and the discourses, stories, and histories it simulates.
Gameplay becomes an exercise of balancing competing consciousnesses: one imposed by the game’s extractive ‘Headquarters’, which is modelled around colonial concepts of ‘exploration’, ‘nature’, and ‘knowledge’. Others are gradually revealed through play, and propose alternative ways to navigate in the world.
www.youtube.com/watch?v=v00mI_velWM
www.serpentinegalleries.org/whats-on/third-world-the-bottom-dimension
Lead artist, Creative director, 3D sculptor, concept: Gabriel Massan
Featured artists: Castiel Vitorino Brasileiro, Novíssimo Edgar, LYZZA
Sound design: LYZZA
Unreal development: Alexandre Pina, Marchino Manga, Ralph McCoy
Capture mode development & Unreal consultant: Iraj Montasham
Animation, cinematography, film VFX: Carlos Minozzi
Additional cinematography: Alexandre Pina
Graphic, UI design: Masako Hirano
Writing, narrative design support: Sweet Baby Inc
Translator: Adriana Francisco
Translation support: Manuela Cochat
Mastering Engineer: Rainy Miller
QA Testing: Keiran Cooper
Curator: Tamar Clarke-Brown
Producer: Róisín McVeigh
Commissioned and produced by Serpentine Arts Technologies
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Game commissioned in association with the Julia Stoschek Collection
Gabriel Massan (BR) (b. 1996, Rio de Janeiro) is a Berlin-based multidisciplinary artist. Combining storytelling and worldbuilding, they create worlds that simulate and narrate epistemic situations of inequality. Framed through a conceptual practice they call ‘fictional archaeology’, the artist investigates possibilities for subversive otherness. In 2024, Massan opens a solo show at Pinacoteca do Estado de São Paulo, participates in the 38th Panorama of Brazilian Art: 1000º at the São Paulo Museum of Modern Art, and is selected and awarded for a commission by the FCAC in Geneva.
Gabriel Massan (BR) (b. 1996, Rio de Janeiro) is a Berlin-based multidisciplinary artist. Combining storytelling and worldbuilding, they create worlds that simulate and narrate epistemic situations of inequality. Framed through a conceptual practice they call ‘fictional archaeology’, the artist investigates possibilities for subversive otherness. In 2024, Massan opens a solo show at Pinacoteca do Estado de São Paulo, participates in the 38th Panorama of Brazilian Art: 1000º at the São Paulo Museum of Modern Art, and is selected and awarded for a commission by the FCAC in Geneva.
In Third World: The Bottom Dimension, artist Gabriel Massan offers a new pedagogy, a guidebook for resistance. Through a single-player PC game where the player navigates a lush world by way of an insectile protagonist, we are offered to engage history as we know it and contend with its gaps. Massan is clear in his desire to reveal instead of replicate how systems of power erase and marginalize complicated historical truths. The goal here is not to conquer or extract, but to question colonial notions of expedition and to resist the embedded power structures. Drawing from cultural writer and historian Saidiya Hartman’s use of “critical fabulation”, Massan is keenly aware of the limits of institutional archives and invites you to challenge the record through their use of speculative storytelling techniques, which Massan calls “fictional archaeology”. To repair history’s failure, Massan and their invited collaborators—Castiel Vitorino Brasileiro, Novíssimo Edgar, LYZZA—build a landscape of expressive sound and color that make room for the fullness that is the Black Brazilian experience.
In Third World: The Bottom Dimension, artist Gabriel Massan offers a new pedagogy, a guidebook for resistance. Through a single-player PC game where the player navigates a lush world by way of an insectile protagonist, we are offered to engage history as we know it and contend with its gaps. Massan is clear in his desire to reveal instead of replicate how systems of power erase and marginalize complicated historical truths. The goal here is not to conquer or extract, but to question colonial notions of expedition and to resist the embedded power structures. Drawing from cultural writer and historian Saidiya Hartman’s use of “critical fabulation”, Massan is keenly aware of the limits of institutional archives and invites you to challenge the record through their use of speculative storytelling techniques, which Massan calls “fictional archaeology”. To repair history’s failure, Massan and their invited collaborators—Castiel Vitorino Brasileiro, Novíssimo Edgar, LYZZA—build a landscape of expressive sound and color that make room for the fullness that is the Black Brazilian experience.