GDC 2015 Education Summit Panel featuring Celia Pearce, Jeff Watson, Eric Zimmerman, Andy Nealen, Brenda Romero, and Tracy Fullerton. Moderated by Colleen Macklin and John Sharp. Viewable for free on GDC Vault.
One of our best tools for teaching games are games themselves. Name a facet of college-level games education and there is a way to teach it through gameplay. Want to explore continuity and consistency in storytelling? Try shuffling a deck of story cards. Want to think about gender dynamics? Mod a sport around gender stereotypes. Building on last year’s session, we have six more educators sharing a classroom exercise used to teach a different facet of games, using games! Seasoned and new faculty alike will share their best programming, design, story, collaborative learning, game studies and criticism play-based exercises. (GDC Vault: Teaching Games with Games 2)
“I saw scores as a way of describing all such processes in all the arts, of marking process visible and thereby designing with process through scores. I saw scores also as a way of communicating these processes over time and space to other people in other places at other moments and as a vehicle to allow many people into the act of creation together, allowing for participation, feedback and communication.”
As entertainment properties become increasingly spatialized and nonlinear, spreading across diverse platforms, contexts, and modes, how might they benefit if the ways in which they are developed were to undergo similar changes? What alternative approaches exist to the traditionally linear and “siloed” processes of conceptualizing and iterating narrative storyworlds? Is it always appropriate that an entertainment property should begin with a book, script, bible, or treatment and only proceed into design and visualization once preproduction is underway? Or could story material be developed in concert with the kinds of research, visualization, fabrication, and contextual exploration typically associated with production design? In short, how can production itself be a part of development? How can design fiction and visual/conceptual “worldbuilding” create the context for story, rather than the other way around?
These and other questions were at the heart of “Imaginary Worlds: Exploring the Unknown,” a panel and two day studio workshop held at Berlinale Talents, the annual summit and networking platform of the Berlin International Film Festival. Using a modified and extended version of the creative process framework developed for the 2015 Science of Fiction conference, our panel and workshop sessions explored new ways of structuring collaborations across media arts disciplines so as to imagine and visualize a fictional storyworld. Over the course of two intensive 4-5 hour sessions, our team, consisting of production designer Alex McDowell, educator and process architect Bruno Setola, transmedia artist Juan Diaz, and myself, led 25 designers, writers, directors, and other invited talents through a creative process exploring and developing the storyworld of Rilao, a fictional island nation in the South Pacific.
The result of this collaboration was five “deep dives” into various eras of Rilao, each illustrated with dozens of designed artifacts, images, place descriptions, characters, and story elements. Each deep dive coalesced around a “central disruptor,” or “story magnet” — a place or situation that participants identified as being especially rich in narrative potential — and radiated outward, bringing together elements of the world’s imagined histories, presents, and futures. Participants developed these elements through the play of an imagination game and the engagement in a secondary process that focused on elaborating upon and finding the connective strands among the diverse ideas generated by the game. As the whirlwind of creation drew to a close, the materials produced by participants were gathered together into an archive which will be integrated into the broader Rilao world-build.
For more on the philosophies behind this process, and how it might relate to emerging methodologies in domains ranging from entertainment development to education and social innovation, please watch our panel, here:
Special thanks to Romke Faber, Florian Weghorn, Andrea Rieder, and all the Talents, without whom none of this could have happened.
Filmmaker John Grierson famously described documentary cinema as “the creative treatment of actuality.” Documentary films can illuminate unseen processes, broaden our awareness of the past and present, and challenge us to make a better future. How might games achieve similar ends? What can interactive media do in the realms of non-fiction, documentary, and activism that other kinds of media cannot? How can we use games and interaction design to not only document the Real, but also to intervene on it, and to shape the world to come?
This course explores the past, present, and future of documentary and activist interactive media and games. Students will approach the topic from a variety of perspectives, drawing on contemporary art practice, cultural studies, game studies, cinema studies, and more. Informed by these historical and theoretical contexts, students will workshop documentary and activist games of their own.
“The poetics of the oppressed is essentially the poetics of liberation: the spectator no longer delegates power to the characters either to think or to act in his place. The spectator frees himself; he thinks and acts for himself! Theatre is action!”
“Let’s step back for a moment—or rather, float upward a bit, and imagine a bird’s-eye view of this society, one in which harried workers are sent to and fro by way of commands conveyed to them through personal computing devices. They don’t know why they are doing these things, nor what sort of calculus informs all their data-charged activity. But still they follow the commands, which come with the computer’s imprimatur of mathematical precision and authority. They move between tasks with all the attention and care of worker bees; accomplishing the job without hesitation is all that matters. They live and work in conditions of closely choreographed banality.”
“In this great Celestial Creation, the Catastrophy of a World, such as ours, or even the total Dissolution of a System of Worlds, may possibly be no more to the great Author of Nature, than the most common Accident in Life with us, and in all Probability such final and general DoomsDays may be as frequent there, as even Birth-Days or Mortality with us upon this Earth.”