It could be very different. You could be in a universe where 20jazzfunkgreats lives in a constant 503 state. Or in a universe where 20jazzfunkgreats publishes complex analyses of the physics of crabcore1. Or in a universe where 20jazzfunkgreats is operational, thanks to a top notch digital infrastructure funded through advertising, product placement and other forms of revenue generation.
But you aren’t. You are in a universe where 20jazzfunkgreats is more or less the way it was when it came into existence ca. 10 years ago, a universe where 20jazzfunkgreats spends its Sundays scowling at passing children from the window of its manor, while its considers alternative scenarios for the evolution of Planet Earth, if only the multi-dimensional dice that shape cultural change had landed differently.
But before you start feeling lucky, consider this:
If you can read this page, then that means you are based in a universe where ERE Electronique 1988 video game ‘Captain Blood’ didn’t become the blueprint for a new and weird phase of interactive entertainment that would support mankind in the next stage of its evolution.
In other words, you are not based in a world where creating a H.R. Giger inspired game about an Errol Flynn obsessed video game designer exiled in hyperspace who has to hunt 5 of his clones to reconnect with humanity, by building the trust of alien species using an alphabet of 150 icons and navigating fractal landscapes wasn’t ‘the way things are done.’
Oh, and using an excerpt of Jean Michel Jarre’s Ethnicolor for the title credits.
Instead, you are based in a universe where such things are considered oddities, weird experiments described in the footnotes of a history of the evolution of the medium leading to a current situation where a not-insignificant proportion of the game-playing public behaves online in a way reminiscent of the mindless tendrils of abominable putrescence one encounters crawling down the dimly lit caverns of Dark Souls’ Blight Town.
Zooloklogie is also featured in Zoolook, the album whence Ethnicolor was extracted, and sounds like the theme tune for Miami Vice if Miami Vice was set in a gnostic world where, after the awakening of the collective intelligence and the convergence of all languages, the only regulated commodities were complex epistemological concepts that can send its citizens into paradoxical Gödel loops where a contemporary visitor might see echoes of ‘breakdancing’.
1 Crabcore as in emaciated youngsters squatting over their guitars like priapic frogs, not the version we prefer, that EDM sub-genre developed by the secretive arthropod visitors H.P. Lovecraft alluded to in “Whisperer in Darkness’ (we have analysed the physic of that modality of crabcore several times; in fact, one of the purposes why we started this blog was to analyse that modality of crabcore).