In the second episode of the Finding Fanon trilogy (2015-2017), the artists render the conversation alive through machine animation. Departed from their selves and self-objectified, temporality and locality are sidelined as the artists wander through a virtual deserted universe where the future seems to be in the process of construction. The two explorers are now avatars. Their physical appearance and their clothes recall those of the protagonists of the first episode. Yet the world in which they exist is an empty game level, where they run in search of a different space, where the sunsets are the most beautiful they have ever seen: a promise/premise for decolonization. “What if Fanon’s message was not simply one of love, but a warning of the impending reality that we are asleep also? Wake up my friend; let us search for the answer.” In this episode, like the first, a mix of personal confessions and theoretical questions show how coloniality continues to shape the present on a planetary level, directing our seeing, thinking, feeling, perceiving. Fanon’s message sounds to the artists like an invitation to fight back against reality and enact a dream of emancipation in a world abandoned by but not totally free from hidden systems of control. Moving toward the intersection, the two avatars create a new scene. The world they cross is the simulated world of Grand Theft Auto V—one of the most famous and profitable video games of the last decade, produced by white people to satisfy a white market. In this appropriated and re-edited edition, the critique of the gamification of the world—again with its racialising logics—materialises in the proposal of a possible form of resistance: an alien form that cannot be appropriated. Their existence in a virtual world is not merely an act of transposition. They are not transplanted, they are totally reconfigured, immersed in a process of re-origination inside and through the technology, which suspends—rather than re-actualises—the trap of power. They are not being played in the game, they are playing. Are they moving to find, as Fanon did, a more comfortable place—even if it is somehow troubling? Which kind of place is the space of digital gaming? This video suggests that it is a space to be inhabited and to be hacked. Is the new world more comfortable? The avatars escape and hide, but still find themselves face to face, standing still, their paths again intersect. But there is no end to their walking, no destination. Incessantly wandering, disoriented and stuck, they are telling us that there are no limits to the imagination of the horizon of the future, but there is no proven route either. (Alessandra Ferlito and Olga Solombrino)