TUNIC departs from Rosi Braidotti's contention that myths are always political fictions – staged and restaged, told and retold, purposed and repurposed in fragments and slippery allusions. In TUNIC, an actor in a boat becomes a god who assumes the sheen of a mythical era, the boat becomes a swan suddenly tasked with enormous consequence. TUNIC works with mythic camp: the ridiculousness of epic beauty, the pleasure of perpetually becoming otherwise, the refusal of The Moral, the anti-aspirational, the hilarious, the sublime.