Browser lacks capabilities required to play.

Upgrade or switch to another browser.

Loading…

Why Video Games Matter

Interactive conference proceedings for the 'Why Video Games Matter' symposium hosted by Leeds Trinity University & the National Videogame Museum

[[Begin|Start]]

[[About]]

[[Game Recommendations|gamerecs]]

[[Play Demo Mode|begins here]]

About <><>

'Why Video Games Matter’ is a live conversation between Leeds Trinity University and the National Videogame Museum.

A symposium based on this theme took place at the National Videogame Museum, Sheffield, UK on 21st June 2023, hosted by the museum and funded by the university. 40 people joined the debate that day.

The content of this game was drawn directly from presentations, discussions and workshops that took place throughout the day. Some of the responses have been edited for clarity.

Speakers & Facilitators

Hosts: Kathryn Penny (LTU) & John O'Shea (NVM)
Facilitators: Caroline White (Creative Consultant), Antesar Shabut (LTU), Jason Scott (LTU), Liz Cable (LTU)
Speakers: Dan Hett (Digital Artist, Writer and Video Game Designer), Sarah Unwin (Director of The AfterLab & Lecturer), Daniel Wood (Acting Co-CEO at Ukie), Lauren O’Donoghue (Writer and Game Designer), Shannon Parkes (Founder of ShannonParkesEsports), Liam Lawler (Partnerships Coordinator at SpecialEffect)

This game was built in Twine, a free, open-source tool for creating text-based games. Written and developed by https://laurenodonoghue.neocities.org/" target="_blank">Lauren O'Donoghue.

SFX

https://freesound.org/people/Breviceps/sounds/450613/" target="_blank">'Match' sound by Breviceps (https://creativecommons.org/publicdomain/zero/1.0/legalcode" target="_blank">License)
https://freesound.org/people/x.3d.gime/sounds/54041/" target="_blank">'Modem' sound by x.3d.gime (https://creativecommons.org/licenses/by-nc/3.0/legalcode">License)

<><>

<> You wake in [[darkness]]. <>

<> <>

[[Open Inventory|inventory]]

$items/5 Items Found

[[Open Map|hub]]

[[About]]

[[Game Recommendations|gamerecs]]

<> <> <>

Inventory <><>

Left Eye: <>To be found <>Found <>Placed in Shrine <>
Right Eye: <>To be found <>Found <>Placed in Shrine <>
Left Wing: <>To be found <>Found <>Placed in Shrine <>
Right Wing: <>To be found <>Found <>Placed in Shrine <>
Heart: <>To be found <>Found <>Placed in Shrine <>

$items/5 Found
$shrine/5 Placed on Statue

<><> <>

<> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <https://laurenodonoghue.neocities.org/audio/match.mp3">> <https://laurenodonoghue.neocities.org/audio/modem.mp3">> <>

Map <><>

A worn piece of parchment with roads and landmarks inked across its surface. At the centre is the hill where the dragon's shrine sits. The northern section of the map is covered with drawings of trees, depicting a deep forest. A curving shoreline has been traced out to the south. Over in the east there are a number of blocky shapes that appear to be buildings.

Where would you like to go?

[[The Forest|Culture Forest]]

[[The Beach|Change Beach]]

[[The City|Society City]]

[[Dragon Shrine|Shrine]]

The Forest [[(Map)|hub]]

The trees in this forest are curious things; some glow in strange colours, every leaf achingly defined, while others are as simple and blocky as a child's drawing. Sounds drift through the air, snatches of music and half-heard snippets of conversation. A carpet of fallen leaves muffles your footsteps.

Set into the slope of a hill is the rocky entrance of a [[cave|Media Cave]]. A small [[stream|Identity Stream]] bisects the landscape. Along the path the trees give way to a clear [[glade|Art Glade]]. <>

The City [[(Map)|hub]]

The city is abuzz with industry at every level, from the bustling streets to flying vehicles cutting through the skies above. The people here, you realise, are not just people. There are animals too, and automatons, and creatures which you have no name for, all going about their business. The architecture is similarly inconsistent; futuristic skyscrapers sit alongside derelict old buildings, cosy cottages, and spiralling towers.

A signpost directs towards the [[financial district|Financial District]]. A grand, domed building appears to be a [[school|Education University]] of some kind. One street is busier than the others, and appears to be hosting some kind of [[festival|Community Festival]]. <>

The Beach [[(Map)|hub]]

The beach is beautiful, and ever-changing. The rolling waves alter the shape of the coastline, turning pebble beaches to smooth sands and back again. Overhead the sky shifts from pale blue to orange to black, the sun setting and rising in an hourly cycle.

There is a well-maintained path leading through the [[sand dunes|Accessibility Sands]]. Near the shore, the surf fills up a bank of [[rockpools|Indie Rockpools]]. The blue [[sea|Innovation Sea]] rolls out to the horizon. <>

The Cave

"[Video games are] the most exciting and important cultural form of our time." - John O'Shea, Co-CEO @ The National Videogame Museum

A cacophany of sound echoes from the mouth of the cave, and as you move deeper inside you find two machines projecting footage onto a bare stone wall. The two feeds layer atop one another, creating a mess of audio and video that threatens to give you a headache. Feeling around in the dark, you find a switch on the side of each machine.

[[Turn the first machine off.|esports]]
[[Turn the second machine off.|tieins]]

Return to the [[forest|Culture Forest]] <>

The Stream

“If Technologists don’t think about the diversity of the end user, we are going to have a bigger gap between what people could achieve and what they can achieve.” - Professor Annalu Waller OBE, Chair of Human Communication Technologies, University of Dundee

The stream babbles quietly as it cuts a path through the forest floor, the water perfectly clear. In some places it spills over small shelves of rock, creating tiny waterfalls, while in others it gathers in pools so still that you can see your reflection in the surface.

Though there is no one else around, there are signs of habitation here. Someone has installed [[water wheels|what is a gamer?]] along one bank. On the other, there is a line of [[painted stones|women in games]].

Return to the [[forest|Culture Forest]] <>

The Glade

"Games really sparkle as a medium for not just fun, but also storytelling, empathy, creative expression, and a million other things." - Dan Hett, Digital Artist, Writer and Video Game Designer

This clearing appears to have been created deliberately. Leaf litter and undergrowth has been swept away, and the canopy has been cut back to let light spill in. All around you is the evidence of human creation; patterns drawn in the earth, carved tree stumps, painted banners. They depict everything from stars to mushrooms, barrels to bombs, snakes to swords.

You spot [[scraps of paper|artistic expression]] pinned to some of the trees. On the other side of the clearing, a number of [[objects|heritage]] are displayed on a long table.

Return to the [[forest|Culture Forest]] <>

The Festival

"Video games create an opening for people to express themselves in ways in which they couldn’t in other circumstances. It’s like when a football team creates a community and sticks together." - Shannon Parkes, Founder of ShannonParkesEsports

The wide street is packed with residents, all celebrating what appears to be a community festival. Music fills the air, but it is almost drowned out by the sound of a hundred overlapping conversations. There are food stalls, and performances to watch, but most of all there are games. Dancing games, racing games, games of reflexes and problem-solving and teamwork, puzzles and rhythms and battles. Some people play together, while others stand and spectate.

A group of people nearby are engaged in conversation, if you care to [[join them|social]]. If you prefer somewhere quieter, there is a [[tent|wellbeing]] set off to one side.

Return to the [[city|Society City]] <>

The Financial District

"Games really do matter, now more than ever. It’s up to us all to decide how the sector moves forward." - Dan Wood, Acting Co-CEO at Ukie

The financial district is made up of thin, narrow lanes and tall buildings, with the occasional open square breaking up the otherwise claustrophibic streets. There are flags in banknote colours, and windowframes inset with gleaming coins.

The largest building in the district, shining almost golden in the sunlight, is the [[bank|money]]. There are several stalls set up in one of the squares, for what appears to be some kind of [[job fair|employment]].

Return to the [[city|Society City]] <>

The School

"[We need] to create new ways to build connections, skillsets and community." - Sarah Unwin, Director of The After Lab & Lecturer

The school's campus is buzzing with energy. Students rush between buildings and lounge on green lawns, typing furiously into laptops and debating spiritedly with their peers. It's difficult not to be drawn in by the atmosphere; a sense of excitement, progress, and growth.

Two of the school buildings in particular catch your eye; the [[library|skills]] and the [[laboratory|research]].

Return to the [[city|Society City]] <>

The Dunes

"Each person needs a bespoke, individual setup. Their needs and abilities change throughout their lives." - Liam Lawler, Partnerships Coordinator at SpecialEffect

The sand that makes up the dunes is loose and uneven underfoot, but wide paths, handrails and wooden ramps have been built to allow all to access them. Marram grass sways gently in the breeze that rolls in off the sea.

You notice that there are small [[plaques|adaptive tech]] attached to the wall near the handrails. Nearby, in an open area looking out across the water, a group of people are having a [[picnic|diversity and inclusion]].

Return to the [[beach|Change Beach]] <>

The Rockpools

"[Indie games] offer a profound opportunity to make work like this - work that does something new, fresh and challenging, that pushes the boundaries of what a game can be." - Lauren O'Donoghue, Writer and Game Designer

There are dozens of rockpools pitting a rocky outcrop that juts out from the shore. The smallest is the size of a coin, and the largest is several feet wide. Some contain only wispy fronds of seaweed, while others are a bounty of barnacles, shells and tiny crabs.

Someone has left a [[bucket and spade|DIY tools]] here. You notice several small [[bottles|distribution]] bobbing in the shallow water nearby.

Return to the [[beach|Change Beach]] <>

The Sea

"Along with their economic impact, the video games sector is also a driver of innovation, a key theme of the Treasury’s “Build Back Better strategy”, with much of the technology created by the video games sector repurposed by other creative industries." - Sam Pither, The Business Magazine

The sea is a perfect azure blue, breaking into sprays of white foam where it meets the shoreline. When you take a few cautious steps out it laps gently against your ankles, the water slightly warm. Tiny, colourful fish flit around the shallows.

There are several small [[islands|politics]] dotted about, close enough to swim to. Washed up on the shore is a pile of [[flotsam|next gen tech]].

Return to the [[beach|Change Beach]] <>

<> You reach over to the first machine and press the switch, so only the second continues to play. It projects footage of a [[stadium]] packed for an Esports tournament, the gameplay unfolding on large screens above the [[players]] on the [[stage]]. Commentators speak over the roar of the [[crowd]].

Return to the [[cave|Media Cave]]. <>

<> The group, who are sitting around a large table, welcome you. They are a mixed bunch; some human, some not, their clothing, colours and voices all staggeringly different from one another. You have joined their discussion late, and find them talking about how games function in their community.

<> "...look at Dark Souls. It has a culture—its own jokes, its own memes. Communities in games are important."

"Exactly. Video games create an opening for people to express themselves in ways in which they couldn’t in other circumstances. It’s like when a football team creates a community and sticks together."

"They're not passive experiences, though, like cinema or TV. They can be whole virtual environments, populated with diverse online communities across the globe."

"I'd say they're the most powerful communications medium of the 21st century. They're where billions of people make friends and socialise."

"And they're generational. Games are passed down from parents to their children."

"We benefit the lives of players as an avenue of fun."

"Wow, man. That's deep."

They look at you expectantly. Clearly waiting for you to express your own opinion on the topic.

"<> <>," you [[say|socrespond]].

<>

Return to the [[festival|Community Festival]] <>

<> The movement of the stream turns each water wheel slowly. They are brightly painted, and as you examine them closer you see that each one has been marked with a question. As each paddle lifts, it reveals a different answer.

Why do people play games?
<> <>

How are gamers percieved?
<> <>

What are the types of gamers?
<> <>

Return to the [[stream|Identity Stream]] <> /* UKIE ‘raise the game’ programme and ‘do I look like a gamer’ */

<> Each of the stones has been carefully handpainted with a portrait. Each depicts a different woman—one sitting at a computer, one giving a speech, one holding a baby, and so on. When you pick one up and turn it over, you see that there is writing on the back.

Pick a [[stone|stones]].
Return to the [[stream|Identity Stream]]. <>

<> A cloth has been spread out on the ground, and it is covered in half-eaten dishes of food. The people who sit around it are from all walks of life—different genders, ages, backgrounds—and they invite you to join them. They are talking about ways that they would feel more included in games.

<> "The games industry could provide opportunities and tackle inequality for young and disenfranchised people."

“There's a digital divide—buying consoles is an income barrier. Historically you could play for free on promotional consoles set up in Curry’s or Toy’s R Us."

"People need financial support to play and build games."

"Charities and non-profits can bridge that gap, since commericialisation is not the main motivation."" <>

Return to the [[dunes|Accessibility Sands]] <>

<> Up close, you can see that each piece of paper is covered in words. Some are handwritten, some printed. Several appear to have been torn from longer works, books or manifestos, while others look like scraps from letters.

Examine a [[letter|letters]].
Return to the [[glade|Art Glade]]. <>

<> The table has been laid carefully, with a clean white cloth. The objects are precisely placed, and each comes with a small label with a few lines of text written on it. It looks like an exhibition of sorts.

There are five objects on the table; a [[journal]], a [[game cartridge]], a [[mobile phone]], a [[mirror]], and a [[set of scales]].

Return to the [[glade|Art Glade]]. <>

<> A stroll among the stalls is enough to show you that there are a variety of stakeholders represented at the fair. Some are employers and studios, encouraging people to pursue work in the games industry, while others are organisers and activists fighting for better working conditions.

Find out more about [[employment|jobs]].
Find out more about [[activism]].

Return to the [[financial district|Financial District]] <>

<> All along the length of the wooden barrier, just above the handrail, there are small brass plaques engraved with different phrases. Some of these have been obscured by sand and dust, but could easily be cleaned up.

Aging gamers require adaptive technology – <>VR will open this up<> more

Not every game needs to be Esports...

Is there a game you can play on your phone with no sight? No visuals?

SpecialEffect <>was founded in 2007<> to help people with physical disabilities to play video games to the very best of their abilities

People with severe physical disabilities have additional limitations in the experiences that they can have in real life… But games can <>open up a whole world of opportunities to all kinds of experiences!<>

SpecialEffect works with people individually to find out what they want to play and what they need to play it. The charity then <>matches or modifies technology to create personalised gaming setups,<> and backs this up with lifelong follow-up support

EyeMine is a piece of software that uses <>eye movements<> to control and play Minecraft

Return to the [[dunes|Accessibility Sands]] <>

<> The library is a high-ceilinged, low-lit chamber. Dust motes float through the air, and students move quietly between the high shelves of books (and other myriad items). There are slim paperback volumes and heavy tomes, CD-ROMs in plastic cases and capped USB sticks, handwritten reams of notes and manuals full of detailed technical illustrations.

As you idly examine a nearby shelf, several titles catch your eye.

Read <Educational Games" t8n>>
There are many educational games, such as Roblox Education, available today. We can use games to inspire children to engage in a range of core games subjects (such as maths, physics, computer science, art and music). Games can also help children engage in other topics across the curriculum, for example geography and dance. <>

Read <Simulations: Friend or Foe?" t8n>>
There are positives to using simulation games in educational settings, but there are many potential pitfalls too. Some professionals believe that simulation games make certain jobs look 'easier than they really are'. Is the power to make things 'fun' potentially negative if it 'dumbs down' real skills? Playing Guitar Hero, for example, doesn't mean that you can play the guitar. <>

Read <Games for Soft Skills" t8n>>
There are many soft skills that can be gained through video games, and there is a lot of value to be found there. By engaging with player culture, communications and other people, game players can develop many important soft skills. 'Gamification' is often used within the industry, as is learning through simulation. <>

Return to the [[school|Education University]] <>

<> The laboratory looks like something out of a science fiction film. It's all gleaming chrome and incomprehensible machinery, white-coated technicians adjusting apparatus and typing into huge computers, signs warning visitors to proceed with caution.

There are framed posters on the walls, too, showcasing some of the great successes in videogame-based research and training. Some of the names are obscure, but you could [[try and guess]] what each of them achieved.

Return to the [[school|Education University]] <>

<> The scattered items look like nothing more than rubbish at first, but moving closer you see that they are all in decent condition. Cables and circuit boards, consoles and keyboards, headsets and devices. All brand new, all state-of-the-art.

You move some of the objects up beyond the tide line, to stop the waves washing them back out again. To your surprise, a couple of the items switch on at your touch.

Examine the [[handheld device]].
Examine the [[VR headset]].

Return to the [[sea|Innovation Sea]] <>

<> <> Your castle, beautifully decorated, sits proudly next to the rockpools.

Return to the [[rockpools|Indie Rockpools]] <> <> <> <> The bucket and spade are simple toys, made of moulded plastic. You fill the bucket with damp sand and pat it down, then invert it onto the beach. It comes out cleanly, each square tower neat and perfect.

Then you hear a voice, seemingly coming from nowhere. It says: "Games should tell the stories of the players, giving voice to unheard voices."

There are things scattered around the rockpools, you notice, that could be used to decorate your castle.

<>Add [[shells]].
<> <>Add [[pebbles]].
<> <>Add [[driftwood]].<>

Return to the [[rockpools|Indie Rockpools]] <> <> <>

<> The bottles are all different—glass and plastic, green and clear, sealed with corks and wax and bottlecaps—but each of them, you see, contains a slip of paper. If you reached over into the water you could probably pluck one out.

Take a [[bottle]]
Return to the [[rockpools|Indie Rockpools]] <>

<> The tent is calm and quiet, the heavy fabric shielding you from the sound of the festival outside. There is soft lighting in here, and comfortable seating for those looking for a break from the noise and crowds. Several consoles and tablets have been set up for people wanting to pass the time. You feel more relaxed just being here.

There is a large corkboard on one side of the tent, where people have pinned postcards with drawings or notes. Looking more closely, you see that they are mostly observations on video games and wellbeing.

Read a [[note|mhnotes]]
Add [[your own|mhadd]]

Return to the [[festival|Community Festival]] <>

<> There are three islands within swimming distance of you. All are tiny, little more than small hillocks of sand, and seem to be uninhabited. One island has a tall palm tree at its centre. The second is bordered by a coral reef. The third appears empty.

Go to the [[palm tree island]].
Go to the [[coral reef island]].
Go to the [[empty island]].

Return to the [[sea|Innovation Sea]] <>

<> You flick the switch on the second machine, leaving the first one running. You can make out the feed more clearly now. It shows a variety of clips, one after the other, on a loop; film and television [[trailers]], [[adverts]] for different products, [[videos]] of streamers playing retro games. Snippets of different voices play over the footage.

Return to the [[cave|Media Cave]]. <>

<> The inside of the bank is even more grand than its exterior, with parquet floors and a large chandelier hanging overhead. Clerks sit behind windows at several long desks, taking deposits and handing over withdrawals for the city's strange denizens.

Overhead there is a huge board, where dozens of headlines, market predictions and strings of figures scroll by.

Watch the [[board]]
Return to the [[financial district|Financial District]] <>

<> <><><>

The Shrine [[(Map)|hub]]

The shrine sits atop the hill, surveying all the land below. A statue of the dragon scowls down at you <>from empty eye sockets. <>with its right eye, its left still an empty socket. <>with its left eye, its right still an empty socket. <>with two perfect eyes. <> <>It looks more like a lizard without its wings. <>It looks lopsided with only its right wing. <>It looks lopsided with only its left wing. <>Both of its wings are spread wide. <> <>There is a hole where its heart should be. <>Its heart rests proudly in its chest. <>

Before it is an altar, covered in offerings of loose cables, spools of wire, microchips, jewel cases and tattered paper manuals. Five candles are lined up before the dragon, $shrine of which are lit.

<>[[Place Left Eye|candle][$leye to 2]]
<> <>[[Place Right Eye|candle][$reye to 2]]
<> <>[[Place Left Wing|candle][$lwing to 2]]
<> <>[[Place Right Wing|candle][$rwing to 2]]
<> <>[[Place Heart|candle][$heart to 2]]
<> <>[[Go through the doorway.]]<> <>

<> <

<> As the last piece of the dragon clicks into place, you feel a great rumbling beneath your feet. It takes a concerted effort to stay upright as you stagger backwards.

The statue is growing, its shape shifting and changing, and colour is beginning to suffuse its grey stone skin. There is a loud crack as it sloughs off its static form and then, before you, is the huge creature you first encountered in the cave.

<> <

> <>

<> For a while, all is silence. Then a voice sounds from all around you, everywhere and nowhere. It is harsh and synthetic, crackling at the edges, and there is a deep hum behind it. <> <

> <>

<> A pinprick of light. Then another, then another, blinking into life all around you. The fluorescent glow illuminates the space you find [[yourself]] in. It shines on scraps of metal and plastic, veins of circuitry and hills of discarded peripherals, joysticks and cartridges and flickering CRTs. A cave piled high with paraphenalia.

Like a dragon's hoard, you think. As though summoned, something [[reptilian]] lumbers out from the shadows. <>

<> (You remember, dimly, falling asleep, the controller clutched loosely in your hand; menu music looping as you [[drifted off|rest]].) <>

<> <

<> "I'm here <> <>," you say.

The dragon tilts its head to one side, as if considering this. You hope that your answer is [[acceptable]]. <>

<> <

<> The dragon lets out a sound of approval, a whirring, chirping noise from deep inside its throat. It lifts one of its claws in your direction, gestures in the air—and then there is a rumble, and the lights flare all at once, and the ground gives way and you find yourself falling, [[falling]]... <>

<> You land on your back, hard. Blue sky above. Sitting up gingerly, you take some air back into your lungs and observe the landscape around you.

You are on top of a hill, in front of what looks like a shrine. There is a stone statue depicting the dragon you met in the cave, still missing its eyes, wings and heart. On an altar before the statue are five unlit candles and a rolled-up piece of parchment.

You take the parchment and lay it out flat. It is a map of an unfamiliar land, with this hill clearly marked at its centre. Your quest [[begins here]]. <>

<> <

<> "There's been a shift from games being used to market and promote films," one voice says. "Now we're getting films and television based on games." The projection shows a clip from The Last of Us TV show, and another of the Super Mario Bros. movie.

Listen to [[something else|tieins]]. <>

<> "Marketing is important," an unseen commentator says, over adverts for video game toys and other tie-in merchandise. "Games are a good way of reaching audiences and selling products. They're intellectal property."

Listen to [[something else|tieins]]. <>

<> The footage shows streamers on Twitch and YouTube playing old games. "It's about nostalgia," a voice says, while Tetris blocks fall into place and aliens explode in showers of pixels. "People like to be reminded of the past."

Listen to [[something else|tieins]]. <>

<> There's a cheer from the stadium as one of the players gains an advantage.

"You see, this is why Esports matter," says one of the commentators. "They bring so much happiness to participants and spectators. They bring life to events."

Keep [[watching|esports]]. <>

<> "Esports is a microcosm of society," one of the commentators says. "It has a real problem with diversity."

"It does," the other concurs. "But it can provide a good basis for community programmes too. Look at the one at Sheffield United Football Club."

Keep [[watching|esports]]. <>

<> When the current round comes to an end, the overhead screens cut to logos and advertisements for the tournament's sponsors.

"We're seeing more Esports incorporated into corporate events," a commentator says. "What are your thoughts on that?"

The other commentator hums, considering. "It's tricky," they say at last. "These events are expensive–that means they need to make more and more profit to guarantee a return on investment."

"True. Perhaps we need more 'independent' Esports events."

Keep [[watching|esports]]. <>

<> When the tournament comes to an end, the camera pans over the celebrating crowd before cutting to the winning player shaking the hand of the runners-up.

"You see," comes the voice of the commentator. "That's what this community is about. Making friends, creating a supportive environment. Bringing together people with common interests."

Keep [[watching|esports]]. <>

<> The letter reads...

<> Games that centre on storytelling seem to have the ability to open the door to empathic responses. Exploration finds a piece of the story. <> <> Art can be a distraction from the problems of the world, but it can also be a lens or a mirror. <> <> The verbs in games don’t have to just be run, jump, climb, shoot - they can shine a light on exploitation and brutalisation, they can explore what it means to resolve, change, and transform. <> <> Narratives rooted in real-world events are powerful tools for storytelling and experiential learning. They can create empathy, stimulate critical thinking, and prompt conversations about complex issues. <> <> Creativity is at the top of the list of skills required for the video game industry. <> <> Games allow you to inhabit a space, or a person. Absorb it, explore it, see it from different angles. Even in text, that agency within an experience is an incredibly powerful thing to work with. <> <>

Pick another [[letter|letters]].
Return to the [[glade|Art Glade]]. <>

<> The journal is battered and well-worn. Inside are handwritten notes, diary entries and diagrams. The label reads...
Heritage deals with the stories we tell about games themselves and the stories they tell about game culture.

Examine the [[game cartridge]].
Examine the [[mobile phone]].
Examine the [[mirror]].
Examine the [[set of scales]].
Return to the [[glade|Art Glade]]. <>

<> The cartridge is made of grey plastic. It is old, but clean and well-maintained. The label reads...
It's our job to preserve older games and game cultures.

Examine the [[journal]].
Examine the [[mobile phone]].
Examine the [[mirror]].
Examine the [[set of scales]].
Return to the [[glade|Art Glade]]. <>

<> The smartphone is a recent model, the screen illuminated to show the numerous apps it has downloaded. The label reads...
Through their distribution, through mobile technology and the internet, video game experiences have the potential to reach the majority of humans on the planet, presenting new perspectives, sharing stories and influencing attitudes.

Examine the [[journal]].
Examine the [[game cartridge]].
Examine the [[mirror]].
Examine the [[set of scales]].
Return to the [[glade|Art Glade]]. <>

<> A small, round mirror. You can see your own reflection when you look into it. The label reads...
A critical understanding of how and why games are made, and by who, and who plays them and what that means, is only going to become more and more important over the next 50 years.

Examine the [[journal]].
Examine the [[game cartridge]].
Examine the [[mobile phone]].
Examine the [[set of scales]].
Return to the [[glade|Art Glade]]. <>

<> A set of small brass scales, slightly tarnished with age. <>There is a round grey stone weighing down one of the plates.<> The label reads...
All museums are concerned with questions of value—What is important? How do we care for it properly? How do we understand our subject? How can we share that understanding? Does the public agree? <>

Take the [[stone|leye]]. <>

Examine the [[journal]].
Examine the [[game cartridge]].
Examine the [[mobile phone]].
Examine the [[mirror]].
Return to the [[glade|Art Glade]]. <>

<> You turn over a stone. The underside reads...

<> The industry says it wants women there, but would that hinder profits? <> <> There's stigma around being a 'Gamer Girl'. It's not a helpful term. Does it mean you have to wear long socks and plaid, and 'be' a certain way? <> <> The trope of 'pretty' Twitch streamers isn't helpful if you're not male—it's still very narrow. <> <> What about single mothers with very little time? Casual mobile games—something you can pick up and put down—are made to be addictive. <> <> There's potential for women’s Esports to develop in same way as women's football. <> <> It's a male-dominated sector. Women need to be given a chance to enter the industry. <> <> It's important to bring women together and create a safe space. <> <> Men should be encouraged to help women. <> <>

Pick another [[stone|stones]].
Return to the [[stream|Identity Stream]]. <>

<> <>A number of people nod in agreement. This is clearly a popular opinion here. <>Your opinion is greeted with thoughful expressions, as though you have given them something to think about. <>It's clear that not everyone agrees, but even those who don't seem to be considering your perspective. <>Your new companions concede to that, happy to give you time to think about it more. <>

Return to the [[festival|Community Festival]] <>

<> The note you pick out reads...

<> Games can be outlets or escapes for people experiencing poor mental health. <> <> In lockdown playing games was a way to reach out to others. They provided social connection, fun and adrenaline. <> <> Games like Stardew Valley can relieve stress. <> <> Gaps in the health industry can be filled by video games–they can help people to save the world. <> <> Video games can be used in social care at end-of-life–there are more opportunities within virtual environments to interact and prevent loneliness. <> <> The 'Animal Crossing Diaries' project showed how people used the game New Horizons to connect during the pandemic. <> <> Games can be beneficial for mental health, you can go on a virtual walk or connect with others. <> <> The game 'Hellblade' has psychosis as a core theme. It's researched well and backed by experts. <> <> Lots of games, such as 'Depression Quest', talk about living with mental health conditions. <> <> <> <> <> <> $mhObs <> <>

Look at another [[note|mhnotes]]
Add [[your own|mhadd]]
Return to the [[tent|wellbeing]] <>

<> What are your thoughts on games and wellbeing? <>

[[Add to board|mhaddconf]] <>

<> <> <

> <>

<> Your eyes track the following text...

<> ...The games industry is commercially driven. Profit is the bottom line... <> <> ...Can the games industry escape wider capitalist structures and pressures? Does it always come back to money and costs?.. <> <> ...Nobody will make and market a game that doesn’t have a clear way to make a profit... <> <> ...Every brand exists to get in front of kids... <> <> ...Games are good way of reaching audiences and selling products in spaces where they already are... <> <> ...Is the UK games industry slipping? Other EU countries have better R&D and tax schemes... <> <> ...Tax breaks in other countries pose a threat to the UK games industry... <> <> ...UK game production companies are growing around the country without state support... <> <> ...There were over 2000 UK games businesses in 2022 (30% growth since 2016)... <> <> ...The game industry generates over £5bn for the UK economy... <> <> ...The game industry drives exports and investment (£2.6bn in 21/22)... <> <> ...The UK population spends over £7bn on games and games related culture annually... <> <>

Keep [[watching|board]]
Return to the [[bank|money]] <>

<> The 'Corrupted Blood' incident helped scientists in the field of <> <>

Sea Hero Quest was a game created to help study <> <>

The After Lab in Manchester is exploring how video games can be used for training in the <> <> industry

The IMAXT project developed groundbreaking software to help visualise and analyse <> <>

[[Final answers?]] <>

<> <> <> Correct! In 2005, an issue with the 'Corrupted Blood' status effect during a raid caused an epidemic in World of Warcraft. A number of scientists subsequently suggested that incidents such as these could be useful for modelling behaviour during real-life disease outbreaks. (https://www.zmescience.com/feature-post/pieces/the-weird-world-of-warcraft-pandemic-of-2005/" target="_blank">Read More) <> Incorrect! The 'Corrupted Blood' incident helped scientists in a different field. <>

<> <> Correct! Sea Hero Quest was a game created in 2016 by British game company Glitchers. It was designed to help researchers understand the mental process of spatial navigation, which is often one of the first symptoms of dementia. (https://glitchers.com/project/sea-hero-quest/" target="_blank">Read More) <> Incorrect! Sea Hero Quest was created to help study a different condition. <>

<> <> Correct! The After Lab, as part of the Voctech Ignite Programme, is looking at different ways that video games might be used as vocational training tools in the live music industry. (https://www.theafterlab.com/blog-news/ufi-ignite-programme" target="_blank">Read More) <> Incorrect! The After Lab works with a different industry. <>

<> <> Correct! In 2022, the Cancer Grand Challenges IMAXT team launched VR software that visualises tumours from the inside, helping researchers worldwide to gain a better understanding of cancer. (https://cancergrandchallenges.org/news/virtual-reality-tumour-map-could-revolutionise-cancer-treatment" target="_blank">Read More) <> Incorrect! IMAXT's software works to visualise something else. <>

<> Congratulations! You got all of the answers correct.

As you come to the end of the row of posters, you see one that's hanging a little [[askew|rwing][$quizanswers to 0]]... <> Well done! You got all the answers correct.

Return to the [[school|Education University][$quizanswers to 0]] <> Too bad! You got $quizanswers out of 4.

[[Try again?|try and guess][$quizanswers to 0]]
Return to the [[school|Education University][$quizanswers to 0]] <> <>

<> <

<> You approach one of the stalls promoting jobs in the game industry. A banner reads: PRACTICES IN THE GAMES INDUSTRY WILL CHANGE THE WORLD

There is a game set up, testing visitors' knowledge about the UK games industry. You can turn over cards to reveal facts.

<>60<>% of the UK industry is outside London

The UK industry supports <>73,000<> full time employees

There are <>20,000<> core jobs in the UK industry

Return to the [[job fair|employment]] <>

<> There are people promoting a variety of campaigns here, all focused on making the games industry a better and fairer place to work. Leaflets are being handed out, and you take a few.

<A Fairer Future

" t8n>> A Fairer Future

The games industry is low paid compared to the tech sector

Labour and ownership in the tech industry is a point of contention

It's important that we have fair distribution of wealth, and build a stronger foundation from which to create games on

<> <Unionising the Games Industry

" t8n>> Unionising the Games Industry

Unionising a hybrid, remote, project based, disparate workspace is challenging, especially with the influx of AI

Collective bargaining can make a difference

Older generations have seen labour wins, but there haven't been many recently

We want to inspire kids to see that collective bargaining works!

<> <A Success Story

" t8n>> A Success Story

Companies such as Meta, TikTok and ChatGPT use outsourced labour to moderate their content - workers are exposed to material that is often explicit or traumatising for as little as $1.50 an hour

In May of 2023, at a meeting Nairobi, over 150 tech workers voted to establish the African Content Moderators Union

This was a really groundbreaking moment for the sector

<> Return to the [[job fair|employment]] <>

<> You pluck a bottle from the water and unroll the scrap of paper inside. It says...

<> Is the range and nature of the stories being told by games innovating fast enough? <> <> AAA studios versus indie studios <> <> Non-commercial games need to be funded <> <> Having bodies that fund independent games is important <> <> In many ways making indie games is the digital equivalent of making zines—it’s a labour of love <> <> Indie games are likely to include elements that are personal, playful and subversive <> <> When you’ve made an indie game, getting it into the hands of players is easy, free, and powerful <> <>

Grab [[another bottle|bottle]]
Return to the [[rockpools|Indie Rockpools]] <>

Game Recommendations <><>

Many speakers and delegates at the symposium recommended games they thought were significant to the question 'why do video games matter?' Links to some of these are included here. Many have a free-to-play option, and those that don't are indicated with a (£) symbol.

https://passenger.itch.io/closed-hands" target="_blank">Closed Hands (PASSENGER/Dan Hett, 2021)

https://store.steampowered.com/app/808090/Bury_Me_My_Love/" target="_blank">Bury Me My Love (The Pixel Hunt, 2019) (£)

https://store.steampowered.com/app/1593030/Terra_Nil/" target="_blank">Terra Nil (Free Lives, 2023) (£)

https://store.steampowered.com/app/1337010/Alba_A_Wildlife_Adventure/" target="_blank">Alba: A Wildlife Adventure (Ustwo Games, 2020) (£)

https://orteil.dashnet.org/nested" target ="_blank">Nested (Orteil, 2011)

https://store.steampowered.com/app/368370/Her_Story/" target ="_blank">Her Story (Sam Barlow, 2015) (£)

https://w.itch.io/end-of-the-world" target ="_blank">Queers in Love at the End of the World (Anna Anthropy, 2013)

https://sub-q.com/play-human-errors/" target ="_blank">Human Errors (Katherine Morayati, 2018)

https://danhett.itch.io/c-ya-laterrrr" target="_blank">c ya laterrrr (Dan Hett, 2017)

https://neurocracy.site/" target ="_blank">Neurocracy (Playthroughline, 2021)

https://xrafstar.monster/games/twine/myriad%20hypercard_old.html#1o" target ="_blank">Myriad (Porpentine, 2012)

http://www.jonas-kyratzes.net/arcadia/arcadia.html" target ="_blank">Arcadia (Jonas Kyratzes, 2012)

https://store.steampowered.com/app/1084600/My_Time_at_Sandrock/" target ="_blank">My Time in Sandrock (Pathea Games, 2022) (£)

https://tommchenry.itch.io/lets-go-eat" target ="_blank">Let's Go Eat (Tom McHenry, 2015)

https://www.fortnite.com/?lang=en-US" target ="_blank">Fortnite (Epic Games, 2017)

https://www.roblox.com/" target ="_blank">Roblox (Roblox Corporation, 2006)

https://www.ea.com/en-gb/games/apex-legends" target ="_blank">Apex Legends (Respawn Entertainment, 2019)

https://www.specialeffect.org.uk/how-we-can-help/eyemine" target ="_blank">Eyemine (SpecialEffect, 2021) for https://www.minecraft.net/en-us" target ="_blank">Minecraft (Mojang Studios, 2011) (£)

https://www.animal-crossing.com/new-horizons/" target ="_blank">Animal Crossing: New Horizons (Nintendo, 2020) (£)

https://store.steampowered.com/agecheck/app/414340/" target ="_blank">Hellblade: Senua's Sacrifice (Ninja Theory, 2017) (£)

http://www.depressionquest.com/" target ="_blank">Depression Quest (Zoë Quinn, 2013)

https://www.alzheimersresearchuk.org/research/for-researchers/resources-and-information/sea-hero-quest/" target="_blank">Sea Hero Quest (Glitchers, 2016)

https://www.stardewvalley.net/" target="_blank">Stardew Valley (ConcernedApe, 2016) (£)

<><>

<> <> <> You select some pale, spiralling shells and press them into the castle walls, surrounding the outside of the door. When you're done, three more disembodied voices float through the air around you.

"Development tools have been democratised–e.g. Twine, Unity, Raspberry Pi, Ink, Scratch etc."

"We should train game designers the same way we teach people to play guitar–as a creative outlet.

"Are their ways we can encourage people to tell their own stories as game players?"

[[Continue|DIY tools]] <>

<> <> <> You find several small pieces of driftwood and push them into the sand on either side of the castle, creating a forest to grow around it. You are rewarded with the sound of three more voices.

"Having more game creators makes makes video games richer, more vibrant, and more interesting as a medium."

"Tools like Twine make it easy for non-coders without specialist knowledge or hardware to make and distribute a game easily."

"The accessibility of text-game dev tools and proliferation of single authors and small teams creates space for a range of perspectives, as well as the kind of experimental work unlikely to be produced by large studios."

[[Continue|DIY tools]] <>

<> <> <> You place a line of smooth pebbles in the sand in front of the castle, creating a pathway to its entrance. Three new voices whisper on the wind.

"We’re in a golden age of independent video game creation. The barriers are gone now, and you can use and learn simple–or complex–game making tools very easily with nothing but a web browser."

"Make games on any old machine. Make them on a Raspberry Pi. Make them on your phone. Make them on your toaster."

"We’re throwing open the doors to video games, democratising the tooling and learning, and making sure that if you’ve got a story to tell, or an idea you want to realise, it’s never been easier."

[[Continue|DIY tools]] <>

<> <

<> The palm tree on the island looks like something out of a cartoon. It has lush green leaves, and a rough trunk, and a cluster of coconuts clings to its upper branches. One falls as you step onto the sand beside the tree, narrowly missing you.

Instead of spilling coconut milk when it breaks, a tightly-rolled piece of paper falls out. Its contents read...

Games are sometimes used for humanitarian purposes

They can be a tool for crowdsourcing data–a PhD researcher, for example, tested a game to get people to correct information on a street map

Ustwo Games made 'Alba: A Wildlife Adventure', a game about conservation, and planted a tree for every game sold

Games can influence people's behaviour and views around climate change

Go to the [[coral reef island]].
Go to the [[empty island]].

Return to the [[sea|Innovation Sea]] <>

<> You navigate carefully around the edge of the reef as you approach the island. It almost seems to glow, in vibrant shades of red and orange. Myriad sea creatures dart under its shadow; seahorses and small eels, clownfish and tiny shrimps.

Wedged in the middle of the reef is a giant clam. You jump when it snaps open and reveals, not a pearl, but a folded piece of paper. Unfolding it, you read...

Games are an important change vector

They can change the minds that will change the world

Games can challenge ideas and perceptions, helping players develop empathy, understanding and social skills

They can help us to imagine better futures, and to build the skills needed to create them

Some games have mechanics that are collectivist, not individualistic

Go to the [[palm tree island]].
Go to the [[empty island]].

Return to the [[sea|Innovation Sea]] <>

<> The island is empty, as you suspected. However, when you're wading towards it, you notice that the ground ahead of you is not smooth. Words have been drawn in the damp sand, though you can't imagine how anyone managed it without trampling over what they had written.

Leaning over carefully, you read...

The games industry needs to have a talk with itself about ethics

Monetisation, AI and the ethical use of data are important topics

A recent Facebook Games scandal showed players being treated as money pots

The government has a role to play in regulation

AI could lead to a proliferation of low-quality games

How do we ensure that design code is age-appropriate?

<> You spy something else there, right in the middle of the island. A [[small, oddly-shaped stone|lwing]].

<> Go to the [[palm tree island]].
Go to the [[coral reef island]].

Return to the [[sea|Innovation Sea]] <>

<> <

<> The device is one you don't recognise, quite old from the looks of it. The LCD screen buzzes to life, and it plays three chirruping notes as it boots up. A text box flashes on the screen.

<> <>

Put the device [[down|next gen tech]] <>

<> You put the bulky headset on, and a different world is painted atop the real one. You find yourself in a large, white room, and it takes a moment to get accustomed to your virtual surroundings.

When you have your bearings, a voice speaks from an unseen source. As they talk, new images appear in front of you–scientists and programmers at work, friends playing games together, a CGI explosion on a cinema screen.

<> <>

Put the device [[down|next gen tech]] <>

<> <

<> It is a magnificent creature, now that its body is complete. It spreads its wings triumphantly, sending tiny lights arrowing through the air. Twin eyes glow in neon shades, while its heart pumps with a steady, mechanical rhythm. And free now, thanks to your efforts.

"<> <>," you [[say]]. <>

<> <

<> You bid farewell to the dragon as it takes to the sky, its vast wings beating. Soon it is little more than a speck on the horizon.

The doorway remains where it was opened. You can return home whenever you like, but there's no need to rush. You haven't finished seeing the world yet.

[[Continue|Shrine]] <>

<> You and the dragon say your last goodbyes. It beats its wings and takes to the skies, while you step back through the open doorway. As you step through you feel your eyes fall closed, as if you were drifting off to sleep.

<> <> <> <>

<> You take one last look at this strange world, then step back through the open doorway. As you walk across the threshold you feel your eyes fall closed, as if you were drifting off to sleep.

<> <> <> <>

<> “Mere entertainment becomes art when the communicative element in the work is either novel or exceptionally well done. It really is that simple. The work has the power to alter how people perceive the world around them. And it’s hard to imagine a medium more powerful in that regard than video games, where you are presented with a virtual world that reacts to your choices.” - Raph Koster, A Theory of Fun for Game Design

[[Continue|Begin]] <>

Why Video Games Matter

[[Begin|Start]]

[[About]]

[[Game Recommendations|gamerecs]]

[[Play Demo Mode|begins here]]

About <><>

Speakers & Facilitators

SFX

<><>

[[Open Inventory|inventory]]

$items/5 Items Found

[[Open Map|hub]]

[[About]]

[[Game Recommendations|gamerecs]]

<> <> <>

Inventory <><>

Map <><>

[[The Forest|Culture Forest]]

[[The Beach|Change Beach]]

[[The City|Society City]]

[[Dragon Shrine|Shrine]]

The Forest [[(Map)|hub]]

The City [[(Map)|hub]]

The Beach [[(Map)|hub]]

The Cave

The Stream

The Glade

The Festival

The Financial District

The School

The Dunes

The Rockpools

The Sea

The Shrine [[(Map)|hub]]

[[Open your map to begin exploring.|hub]]

Game Recommendations <><>

<><>

https://forms.office.com/pages/responsepage.aspx?id=uiBM36hkUkOz-UeIGrvAml7R_yjSJcJDskHacJPPHlNUMDMyRk5XWUQ0NVlXQVNVSjlUVzhNM0JIQi4u" target="_blank">Why do YOU think video games matter?