One starts a computer game by getting to know the place – exploring its qualities, geography, borders and the architecture of the virtual space. While the individual is immersed in the game and navigates the virtual landscape he or she is simultaneously static and physically belongs to a specific place. These two kinds of space – the world of the game and the real world beyond it – are connected in memory and become points of entry and transition from one place and time to another. As a grown-up, Sarokin uses a favourite game from his childhood, Prince of Persia, to travel back in time to his parents’ house. In an attempt to rewrite his childhood, the artist transforms the game by voicing it with his grown-up voice, reversing the narrative and breaking the uniformity of the visuals. Sarokin applies his method of working with sound and assembles the video materials from the game in order to manipulate only that part of reality which is available for rewriting and only the facets of it which can be transformed.
Sarokin comprehends why a feeling of comfort and security is created inside the virtual world. It demonstrates the transition from a universal experience to a unique and special intimate relationship between the game interface and the player that blurs the boundaries between the external and the internal. It is important that the difference between the nostalgic space of memories and the digital space of a computer game is removed by becoming a single structure that organizes memory.
Sarokin comprehends, due to which a feeling of comfort and security within the virtual world is created. It is important that the difference between the nostalgic space of memories and the digital space of a computer game is removed, becoming a single structure that organizes memory. Sarokin redirects a nostalgic intention, which is very important for a post-Soviet person, into an active attitude to the digital space and demonstrates the ease with which such a seemingly unchanging structure as an interface is reformatted... The interface provides interaction between a person, a machine, a program, a game, etc. Reassembling an already seemingly unchanging game with an established narrative and rules, Sarokin demonstrates a revolutionary intention, which is shown not as a destructive tendency aimed at destroying the structure, but as a desire to search for individual comfort within an already formed reality.