In FF Gaiden: Delete, the six-episode follow-up to Finding Fanon, Blandy and Achiampong confront us with other personal stories. There is another way to play the game, another level to be completed, another story/other stories to be told. The virtual and reality collapse in hearing the metallic voices of the avatars of a refugee and an asylum seeker, soon to become a paperless migrant in Europe. How do we face the violence governing and ordering the postcolonial world? As opposed to the technological opacity through which their lives are ordered and governed, the avatarization perhaps allows the creation of a transparent mask, granting these refugees the freedom to speak and roam freely. This act of refusal and escape is the subversion of the manipulable system, the hacking of the role-playing, whereby peripheral subjectivities and experiences can be now put at the centre. As in Finding Fanon Part One, we are confronted with the question of how to tell a story that doesn’t want to be told. While Sara walks along the tracks of a deserted railway line, her autobiographical account is intertwined with histories of colonial violence in the Horn of Africa, leading to a massive forced migration to Europe and the consequent exploitation of migrant labor. The need to position oneself politically with all its implications is a crucial issue, which is also explored in the second story of the video, told by a Kurdish man who grew up in Iran during the conflict with Iraq. His hope for a better world, a paradise where his dreams can be fulfilled, clashes with the cruelty of the regulative politics of rejection and suspension. Both decide to fight for themselves and others, both refuse to give up, and both stubbornly run toward their goal—freedom. Contrary to globalized life on Earth, where nationalist and racist geopolitics dictate who can move freely and who can only do so clandestinely, in this episode, the two avatars walk relentlessly, moving through deserted and unknown places. The landscape they cross remains confused: is it always the same or is it continuously different? Are their crossings breaking up imposed bureaucratic boundaries, escaping the repetitive loop in which the foreigners, the “others,” find themselves harnessed, or are they precipitating in the same recursive circuit where no exit is allowed? The video contests the programmed nature of games (and life), questioning how they can be an open space in their precise and calculated design, and how we might plan ways of fugitivity outside of that setting. However, in contrast to the computational aspect of quantification and reduction, this video offers the perspective of another visuality, another regime of truth in computed and digitalised logic. If migrants are objects for the extraction of knowledge, if their experiences are datafied and commodified, the transformation of their human condition and act of speech is a form of reversal and rebuttal, an intervention and resistance to annihilation, and—again—a sign for a future to come, when borders will become obsolete. (Alessandra Ferlito and Olga Solombrino)