This scene is meant to be a mixture of religion and science. I have never found the two to collide, at least on a theoretical level…definitely not in art.
The start is based off christian eschatology, which presents two gargantuan creatures during the Apocalypse, the first being Leviathan, the serpent in the ocean, the second being Behemoth, resembling a rhinocerus in shape.
I chose to depict the Behemoth in a way that is reminiscent of primitive cave paintings which, to me, hold some strong connection with man’s way of dealing with awe and greatness in nature, leading to the need to dream of gods and other mythical beasts. The image of the creature is first introduced as a series of incomprehensible lines appearing, making a reference to early (or better yet “primitive”) computer art, a sort of tribute to the demoscene among other things.
The second part is a more “scientific” depiction of the “Big Crunch” described earlier, meant to show the concept of all life and matter collapsing into a single point. This is strengthened by the figures that are introduced near the end of the scene and appear to fall into the wormhole. My aim was to create a strongly cinematic sequence which could best describe the magnitude of such an event. Also, as pointed out to me by some fellow students, the people entering the “crunch” look a lot like spermatozoa entering the ovary. While not intentional, I found that to work quite well with the concept of eternal recurrence. The end of one universe is the beginning of another.