Jasper Golding creates a metaverse protest in support of Medical Aid for Palestinians

With the recent proscription of Palestine Action and the rising threat of arrest, the streets are becoming increasingly dangerous for protestors. In light of this, digital spaces have become a place where peaceful protestors can march freely, and Jasper Golding, a Bristol based animator has taken up the web to march for the Palestinian cause.

Innovative use of digital spaces has become more evident in recent years – especially during lockdown – where exhibitions and music events would take place inside of video games and metaverses. In this instance, Jasper invited individuals to send image references of themselves which he would then 3D model, bringing eventually brining them together in protest with other digital avatars from across the world. To be involved, each individual donated £15 which went directly to Medical Aid for Palestinians, a charity providing vital healthcare in Gaza.

Inspired by PlayStation 1 low poly graphics and their “simpler, warmer” feel, Jasper channels the humanity he ses in games like Spyro or Jak And Daxter. “Back then there was still some tangible, almost edible element to the 3D models. It’s like I can feel the creator behind the game a little more than in modern day games,” says Jasper. Jasper makes good use of “texture mapping”, the technique of laying 2D images out and wrapping them around 3D models – something that is utilised in tons of PS1 games, sometimes leading to comedic yet endearing faces stretched on low polygon shapes. In a way, this showing of the seams imbues the animations with a visibly human touch. In collaboration with similarly retro-inspired artists comrademassie and phatboioynx, these walk cycle animations are pixellated perfection.

Jasper feels that most mainstream videogames today are trying to be too polished, instead referring to Hylics or Lunacid as examples of “old skool” styled graphics packed with soul. In Jasper’s march for Palestinian aid, a real feeling of togetherness is present, even if none of these people met each other. Using reference images, he would use the clone stamp and other photoshop techniques to create a “trim sheet”, extracting usable textures from elements of their clothing and likeness, then animated them – all whilst streaming his process for the whole day.

In Jasper’s game ID Quest, he created a metaverse for him and his friends to hang out while the real world was off limits. “We did an online event and all of the avatars were anonymous – one of the most interesting takeaways from this was that everyone got really silly and loose as soon as they knew no one knew who they were. People would chase each other around or prank each other, acting really cheeky,” says Jasper.

In this virtual protest, people of all shapes, sizes and colours (literally, a few characters are just huge walking blobs) can collaborate in a just cause, safely and with a sense of humour. Whereas Jasper’s nostalgic aesthetic to 3D modelling and animation may prompt people to connect to their childhood, it also shows that spirit and political steadfastness can shine through, even in low fidelity.