Competitive Games 2.0 continues my ongoing exploration of image appropriation and character reproduction. In this work, I place two of the most iconic figures from the superhero universe—Hulk and Thanos—inside a boxing ring, poised as if about to clash in a grand battle.

Yet this confrontation is not a straightforward depiction of violence. The fist bump between the two is more ritualistic than aggressive, signaling that their conflict has transcended physical combat to become a staged performance, laden with symbolic weight. The boxing gloves, spotlighted ring, and theatrical atmosphere all contribute to a visual language steeped in the spectacle of “sportainment.” Meanwhile, the crowd—composed entirely of Minions—borrows from popular culture’s fictional masses. These yellow spectators function both as cheering fans and as satirical stand-ins for the formulaic role of “audience” in today’s entertainment industry.

At its core, this piece is not merely about a showdown between heroes. It critiques how contemporary media packages strength, conflict, and fictional characters into consumable visual experiences. This has long been a central theme in my work: how images are appropriated, how icons are reproduced, and how viewers are embedded within an illusion of power and entertainment.

In this arena, the real competition lies not in who wins or loses, but in how we—the audience—participate in the spectacle. Hulk and Thanos are no longer pure symbols of justice or destruction; they are performers on a shared stage, locked in a dance of mutual reinforcement. Who do they fight for? And under whose gaze do they become symbols of combat?

Competitive Games 2.0 does not provide answers. Instead, it raises a question: within this media-constructed stage of characters, battles, and narratives, do we still possess the ability to truly see and critically reflect—or have we already become part of the game, unaware that we too are being watched and consumed?