This is a short synopsis of the main storyline in AFTERLIFE.

Axolotl and Godzilla, who are never referred to by name or gender, live a seemingly quiet and monotonous life on a tropical island. As we follow them through a repetitive cycle of waking up on a sunny beach, consuming coconuts, googling random things on their phones, gazing at the stars and having strange, ominous dreams narrated by a mysterious caped Ghost, it becomes clear that they are dissatisfied and depressed by the meaninglessness of their uneventful lives.

As they gradually start discussing their dreams and open up more about their longing for more in this life, by deus ex machina - The Magic Leopard, who in this case acts like messenger, appears and convinces them to leave their beach and seek The Oracle.

After a long journey through a desert landscape, Godzilla and Axolotl find the Oracle surrounded by a group of pilgrims in ritualistic trance. The Oracle gives them two Gold and urges them to see The Ferryperson.

Renting an inflatable boat from the Ferryperson as an obvious reference to Charon in Greek mythology, they slowly drift down a river which suddenly runs off the edge of their world. They are brutally killed as they are pierced by an enormous spike trap at the bottom of a long waterfall.

In a brief intermission, the two iconic computer game characters G-man and Manuel "Manny" Calavera, situated in a seemingly different dimension than the main storyline, discuss whether to 'release them from their physical bondage', implying that they are in control of the fate of the main characters.

Drifting around in an ethereal, magical space, the link between the two main characters and the performers controlling them is severed, and Tobi and Claudia, dressed up as e-girls and e-boys,  who up until this point were controlling Godzilla and Axolotl using motion tracking sensors on stage, watch their avatars fall into the dark abyss on a big LED-screen.

Tobi and Claudia, metaphorically representative of the spirits or souls of their avatars, simultaneously retaining the roles of controlling puppeteers or motion capture actors, are now confronted by 'God': A bright, white light behind the big LED screen on stage. 'God', describing themselves as 'God, the game designer' is using computer games and theatre as metaphors for life and the relationship between an embodied ego and the world. 'God' finally asks Tobi and Claudia whether they would live or 'play the game' differently if they were able to have a more developed innate awareness of their own impermanence and the nature of their own ego-model when engaging with their world in life.

In a bloody ritual involving The Oracle, The Ferryperson, The Pilgrims, the Ghost and a power cable reaching down from a Tesla Coil-like power plant in the world of G-man and Manuel "Manny" Calavera, Axolotl and Godzilla are magically summoned back to their beach. Tobi and Claudia are re-united with control of their respective avatars.

Returning to a final stargazing scene, the two have seemingly forgotten everything. It is unclear whether it was all just a dream, a strange trip or whether everything occured in a Near-Death Experience hallucination. But something in the characters' attitude towards life and each other has changed.

The Ghost from the mysterious dream scenes in the beginning has a final monologue, addressing the audience and confronting them with their own childhood and death, which is concluded by the Ghost leading the camera (the audience) into a Portal of white, bright light.


A full .pdf of the script for Afterlife, including a visual moodboard used during development, can be downloaded here. Please note that this is copyrighted material and intended for research purposes only. Contact me here if you want to publish the material in whole or in parts.