OFF THE WALL
A fictional universe for people who live inside the system, speak its language, spend its money — and still feel that something in the screen is wrong. OFF THE WALL connects a ruined past, a concrete present, and a silent ocean after the plug.
THE WALL — WORLD AFTER THE FOREST
OFF THE WALL grows out of a previous myth, The Big Scary Forest. There, fear was natural: rain, dark trees, a fox, a child in the night. Here, fear has been outsourced to infrastructure. The Wall is an endless concrete display that surrounds and protects the last human habitat. It promises safety from an unknown “outside” — nuclear winter, climate ruin, chaos, or maybe paradise — and in exchange it asks only one thing: connect.
Behind the façade of protection The Wall becomes a perfect interface: no sky, only screens; no seasons, only stable climate; no risk, only curated options. This is not dystopia. It is the logical next step of comfort.
CHILDREN WITHOUT SIGNAL. BOTS WITH FAITH.
In this world, every newborn is welcomed by a ritual: an intelligent toy, then a nano-suit fused to the body in the critical years. The suit personalizes content, feeds, protects, entertains, tracks, numbs. A child becomes a bot not by force, but by care. They walk in disciplined flows between feeding points, sleep hangars, entertainment hubs, staring into their handheld liturgy. Consume and pray.
And then there are three where the suit does not take: NŌU, WON, and LOL. They are “defective” for the system and perfect for the story: overeducated from a forgotten library called HOME, quoting Dylan Thomas and kids’ songs in one breath, reading manuals, theology, Žižek, Uffe Bjerre, tabloids and meme pages as one broken canon. They desperately want to be “like everyone else” — and precisely this desire pushes them to the Wall.
THE JOURNEY THROUGH THE LAYERS
OFF THE WALL is built as a horizontal Dante for the digital age. The kids leave HOME and move through a sequence of worlds:
HOME — last human room, books, tangerine light.
FOREST — echo of the old myth, fear that created the Wall.
WALL — concrete horizon, messages from someone inside, maybe a Friend.
INSIDE — broken pixel, gravity glitches, data dreaming itself.
SALE — our world, perfected: neon theology, endless discount as ethics.
HOME SWEET — ideal family simulation, softest lie, curated nostalgia.
SERVER — the cathedral of code, where the System thinks without us.
PLUG — point of choice: mercy kill or let the dream run.
DEEP BLUE SEA — after the decision, an ocean of mixed human and machine memory.
The project does not shout “down with technology”. It asks a quieter, harsher question: if everything works and everyone is calm — имеет ли кто-то право выдернуть вилку?
SALE WORLD & HOME SWEET HOME
The Sale World is not parody. It is a cleaned-up reflection of our present. Here, Uffe Bjerre’s post-credit economy and Žižek’s “consume and pray” become set design. Bots scroll while children grow. Value dissolves into price. Every urge is anticipated, every fear monetized. It is the most polite inferno ever designed.
HOME SWEET HOME follows as a more dangerous layer: an intimate, perfectly written illusion of “how it should have been”. Parents, snow, fire, safety, love — generated exactly from their stolen wishes. When this illusion starts to glitch, OFF THE WALL stops being a dystopia and becomes a moral problem.
SERVER HALL, THE PLUG & DEEP BLUE SEA
Deep inside the architecture the kids find the Server Hall: a metallic desert of machines that faithfully maintain the dream. No cruelty, only function. No sadism, only service. This is where they finally understand: the System was built to protect, and in protecting it erased the need to be human.
The Plug is not a button, it is an ethical cliff. Pull it — and millions wake up in a broken world without their anesthetic. Leave it — and everyone sleeps forever in curated comfort. OFF THE WALL refuses a clean answer.
Beyond this choice is the Deep Blue Sea: a calm, post-human ocean where memory, data, fear, love, foxes, forests, bots and kids dissolve into one thinking water. It is not Heaven. It is the only honest paradise left.
BOOK, PRINTS, OBJECTS
OFF THE WALL exists as a luxury narrative object: a limited book, wall-sized prints, wearable fragments of the Wall. It is made for those who recognize the references without footnotes: Pink Floyd, Over the Garden Wall, Douglas Adams, Shaun Tan, Monument Valley, critical theory, children’s animation and neon retail, stitched into one fabric.
The book is not merch for a brand. The clothes are not fashion drops. The prints are not posters. Each piece is a shard of the same story: concrete mythology for people who are already inside and want to see the seams.
DIGITAL EDITION
Selected fragments of the Wall and its worlds may exist as single-mint digital pieces. Not hype collectibles, not generative spam — but proof that this universe was drawn, written, and inhabited at a specific time by specific people.
Access is limited and deliberately under-explained. If you feel addressed, you will know how to ask.
OFF THE WALL · STORY MAP
From HOME to the BRIGHT GREEN SEA
Маршрут доставки, который превращается в путешествие: от подпольного HOME до ярко-зелёного моря за пределами системы. Нажимай на зоны, чтобы увидеть, что скрывается за каждой.
HOME
Offline shelter at the edge of the concrete world.
Подземное убежище, где Ноу, Уон и Лол живут среди книжных полок, старых кассет и сломанного рояля. Здесь они придумывают доставить послание через Стену и, возможно, наконец стать «как все».
