Player Studies: The Riddle Promenade Postmortem

adventures in gaming, critical making, Process Writing, research

[This postmortem was written for Mia Consalvo’s Player Studies class, but I thought you might appreciate reading it as well. You can find the Game Rules, more pictures of player answers, and other context at the-riddle-promenade.tumblr.com — if you like, you can even join in and play!]

POSTMORTEM: The Riddle Promenade

Overall, The Riddle Promenade is a slow game. Getting feedback in time for the postmortem was a challenge because from the day that the game was finished to the time that this postmortem had to be written, there were only two weeks of playtesting. That’s only two riddles on the Promenade. Of course, this slowness was an intentional part of the design. The aspects that I chose to take up in my design of a game for Tom Deliva, my muse, were his love of puzzles, mechanics that test his skills (if cheekily, in the case of photography), and his desire to explore and know the history of the things around him. Additionally, Tom works long hours, and doesn’t have much time to devote to games. He and the other players need time to puzzle out the answer to the riddle and then time to go take their picture. Unfortunately, it still means that I haven’t been able to garner as much feedback from as many playthroughs as I might usually have been able to do with a different style of game.

I have also noticed that, even with a network full of people who play games, it can be difficult to get people to come play a game — particularly for playtest purposes. The people who are playing, with the exception of two people from Twitter, are people that I specifically mentioned the game to, and even then, the pool is very small. At time of writing, there are only seven players who have signed up for the google group (one of the accounts on the google group is the moderator’s email, and another is mine for testing purposes and to make sure emails go through). I suppose that it’s possible that some people are seeing the content without signing up for the official group. I have heard that finding participants for academic studies can be a common problem, especially with no monetary incentives (or, as I’ve seen for certain psychological experiments at Concordia, a Tim Horton’s gift card).

What is exciting about having used a platform like Tumblr that allows for others to discover the game is that some people who happen to be into riddles have discovered and liked posts from the site. My hope is that I’ll continue to get better at writing riddles, and that people will join the game over time. Building a community takes more than two weeks, I guess!

I checked in with my muse, Tom, several times during the two weeks of the playtest (November 29th to December 12th). He had solved the first riddle (#2, since #1 was a test riddle) on the first day — almost immediately after reading it. I, of course, neither confirmed nor denied whether he had the right answer, but he was fairly confident in his answer (and it was in fact the right one). He nevertheless thought that it was a good level of challenge, telling me, “that’s often how riddles are — either you get it in a flash or you have to puzzle it out.” For example, another player told me that they weren’t getting the riddle “at all” and “couldn’t wrap [their] head around it.” Overall, Tom liked the game, and appreciated that it wasn’t overly time-consuming. The first time that we spoke, he had solved Riddle #2, but not yet found a good spot to take his picture.  He enjoyed that the game encouraged him to go out and get to know Fort McMurray. His one concern at this point was that he wanted the community aspect – commenting and discussing the photos – to be a key aspect, and worried that the community was still very small. The next time that we talked, he had taken and submitted his first picture. He was a bit exhilarated, and in addition to the picture in response to the actual riddle, he sent me a picture of a walking stick that he had picked up along the way. As it turns out, northern Alberta is pretty flat, and in order to find a vantage point, he had to go to one of the areas hit by the big forest fire in the spring and hike through the burnt-out woods.

When I posted Riddle #3, Tom told me that he again immediately had an answer, but after speaking to him later in the week, I had to hold back from giving him any hints that he, in fact, had the wrong answer. Nevertheless, he submitted a well-considered picture.

A surprise for me as a designer was that, in my head, I thought that our friend group would all want to play this game and share these moments with Tom, but although I shared it with them, initially none of them joined in. Perhaps this has something to do with timing, the end of the semester, and holidays, or perhaps they simply weren’t interested in this style of game. At any rate, this was one aspect of the design that was different than what I had imagined. Tying Tom back to a new online community rather than his existing friend group is not necessarily a bad thing, but it isn’t what was intended — and that community still needs to be built.

Generally, people seemed to like the concept of this game. I received a lot of comments about it from family (my riddle playtesters) and friends (some of whom said they would join but didn’t). Out of those who actually played the game, which included four players other than Tom who signed up for the Google group, and, as a result, had “officially” signed on to play (there were also Tumblr followers), there were mixed reactions that were generally positive. In this small sample of players, only two (Tom and a close friend) submitted an answer for the first riddle. However, after I shared the post with the answers and photographs on social media, a new player (a personal friend) was immediately drawn in. This post also garnered the first player that I didn’t have prior knowledge of, or my first stranger! Perhaps this trend will continue over time. The deadline for answering the second riddle is December 12th, so this assignment was due sooner than the riddle answers. As of now, I’ve received Tom’s answer to the riddle (he has it wrong) and his picture (he took a nice one), but nothing from anyone else.

I wonder if players who did sign up but submitted no picture were just particularly busy during the first week or if one week is too short of a time in which to answer the riddle and take a picture. I suspect that having to go outside to take a picture in inclement weather might also be a barrier — this might be a game that does better in summer. There is of course always the possibility that this game, which Tom is enjoying, really does appeal only to a small subset of people that share Tom’s player profile.

Another disappointment, although I am again hopeful that this may change over time, is that no comments were exchanged about any of the photos, beyond my conversations with Tom. Nobody commented on anyone else’s photograph (as I mentioned, I didn’t receive many submissions), and I thought that this would be easy to get players to do given the platform and that people seem to enjoy posting comments about photos on social media. Maybe I should have actually made this game on Instagram!

Overall, the development of the game went well. I spent most of my time developing the game concept and design. Implementing and testing all the parts only took a few hours, once I had all the design work figured out. The aspect of the game that took the longest amount of time (and it doesn’t really show in the game) was writing riddles. I spent days writing riddles – and in the end, I only had five to show for all that work. Partially, that’s because I wrote a lot of bad riddles as I learned how it was done and hit my stride. I think that riddle-writing is a hard-won skill. It’s part poetry and part puzzle design. Making comparisons that are specific and finding answers that aren’t too broad or too narrow once in riddle form is challenging. Two things that I wanted very badly to write riddles about were a movie theatre and a fire station. With a movie theatre, the riddles tended to be about escapism, absorption and time, but were too general — the answer could have been almost anything that is considered a form of entertainment. With the fire station, the defining features were too specific and my fire station riddles ended up far too easy. Maybe I’ll take another crack at writing riddles about these things once I’m a riddle-writing master. One nice side effect of writing riddles and testing them out (mostly on my family) is that my dad started to text me his own riddle-writing efforts. During my writing process, I would call home, and whoever was there would gather around the phone and listen to my riddle (including extended family). That was fun.

Thinking through how such design exercises might benefit game studies and games, there’s a lot to discuss. I’ll first distinguish between how games as a medium and the games industry might benefit, as compared to how game studies in an academic context might benefit.

In the mainstream game industry, large studios tend to say one thing and do another when it comes to their audience. Ostensibly, they are making games for everyone. However, the same kind of games seem to get made all the time, and given the large amounts of money invested in these games, companies and marketing divisions are understandably but disappointingly risk-averse. Really, most games are already being made for a small, default demographic that we know doesn’t represent “everyone.” So, making games for a micro-audience that isn’t a part of that demographic is an exercise in highly-targeted design that probably won’t change the industry — at any rate, not right away. But it is possible that if designers entering the industry had to perform this kind of exercise with players that are very different than them, it might give them a new perspective. It probably still won’t solve the problem, because such a solution assumes that designers and writers don’t want to make innovative games with new storylines and more diverse characters. Since I have friends who work in the industry, I know that they have to fight very hard for every character and storyline that diverges from best practices.

This kind of exercise does also benefit researchers. Going through the process of making a game when it is not your usual mode of study can be an enlightening way of understanding what that process is like, giving academics a better understanding of the moving parts of games and how they are made because they have had the chance to do it for themselves. For those who already design work as one of their research outputs, normalizing design as a research tool helps to legitimize research-creation (and similar endeavours). Being allowed to submit games as class assignments is helpful in that regard. This is already the kind of work I am doing on my own time, so when classroom work lines up with the work I would like to be doing, I appreciate that. I think everyone who studies games should try making one at least once. As to what muse-based design target to one specific person brings to the table in particular, I think it represents a good, scalable microcosm and can result in clear, targeted feedback. Rather than trying to gather data about whether a sub-group of people liked the game for the reasons that I thought they would, I can ask one specific person and get a (hopefully) clear answer. I think it is a good tool for learning. In my own work, I am interested in figuring out how to describe the creative process for different creators, and formalized and examined exercises related to game design are one way of furthering our knowledge about that topic.

In the end, I am still pleased with how this project turned out. I appreciate that I acquired new skills while completing it (riddle-writing and, well, using Tumblr), My partner appreciated the game that I made for him, and the thought and care that was put into it. I think that I managed to design a game that hits the mark for him in terms of time commitment, easy-access (not a lot of extra hardware is needed except a camera and the ability to visit a website), and directing an experience that goes beyond the computer screen. I also appreciated completing this task as a design exercise, and think that there is a lot to be learned from exercises like this one. As I’ve mentioned before though, I want to take this game further and keep it up and running for longer. The fact that I didn’t manage to get that many people to join and play as part of the initial playtest, and that one of the main mechanics of the game (commenting on each other’s photos to help build community) was not used at all are where the project fell short, and I want to see what happens over time as I try to grow the community. I’ll keep trying for now.

 

 

Player Studies: Thoughts about ‘The Riddle Promenade’

critical making, Process Writing, Uncategorized

[This text was submitted to accompany a muse-based game design assignment for Mia Consalvo’s Player Studies class, but I thought you might enjoy reading it. Look out for a postmortem after the game gets playtested a bit! Feel free to sign up for the Google group if you want to play with us!]

A STATEMENT ABOUT THE RIDDLE PROMENADE

The number one lesson that I’ve learned from making a game for my muse, Tom Deliva, is that writing original riddles is quite hard. The premise of The Riddle Promenade is as follows: a riddle is posted to a community of players on Tumblr and through a Google group. Players first solve the riddle and then take the “best” photo that they can in order to represent the answer – they may do so by going out and finding something in their community that represents the answer, by staging their own photo, or by making some other work of art that they can then photograph. There is a deadline for all photos to be sent to the moderator in charge of the game through the Google group so that the riddle isn’t spoiled for anybody. The photos are then posted all at once with the name of the submitter (and their Tumblr if they have one) and players can engage with them as they wish.

Given the information that I gleaned from my player analysis, there are quite a few directions that I could have taken for this design that would probably have worked. As the player analysis shows, Tom plays eclectically. I knew that I didn’t want to create an adversarial design, and I knew that there were aspects of Tom’s personality and day to day reality that didn’t come across in the player analysis. These are aspects that I know about because I’ve been his partner for around a decade, but that are not always easily pinned down and explained. The player analysis is still a good starting point, but sometimes there were decisions that I made that were not based on evidence from the player analysis, or points where I could have gone either way. In those cases, I used the privileged knowledge that I had to make choices, along with my experience as a game designer (such as it is – I’ve been designing games since January 2013). In this design, I was taking aim at a number of goals which I will explain along with the decisions that I made below.

This game doesn’t take place wholly in the digital realm, but nevertheless I was reminded of our readings about social play, specifically the Steinkuehler and Williams piece and the Eklund piece. One of the goals that I am trying to achieve in this game is tying Tom back into communities online and back home, so that Fort McMurray won’t feel so lonely. So, the fact that there is a lot of evidence for the utility of online spaces as third spaces (Steinkuehler and Williams 2006) and as places of community for both family and friends (Eklund 2013) makes me think that if I can get players to participate, this goal will be successfully met.

Since Tom has played widely in all sorts of different genres and types of games, one of my other goals was to surprise him and to test his skills. I knew that I wouldn’t be able to build something very elaborate in terms of mechanics and levels during the course of the class. Although I could have done a vertical slice, I wanted to scope in such a way that there was a complete, playable and scalable version of the game available by the end of this course. I don’t just want to know whether I’m correct in assessing that this game would be a good fit for Tom, I want to actually get it up and running and have him play it for more than just this class.

Additionally, I wanted the game to fit in easily with tools and routines that the players would already have. These are the reasons (time constraints, ease of use for players, the desire to keep the game up and discoverable for new players) why I have chosen to use readily-available tools rather than programming something from scratch.

There are quite a few reasons that I have chosen to use both Tumblr and Google Groups at the same time. For one, Google Groups can be used to send the riddle directly into the players’ inboxes and act as a reminder when the page is updated (something that Tom will appreciate given his schedule). Additionally, if players make their submissions through Google Groups, the moderator can post them all to Tumblr at once rather. The reason to then use Tumblr on top of Google Groups (which could easily handle the mailing list aspects and the photo-sharing) is so that the game is discoverable to new players (who is going to go looking for a game on Google Groups?), so that the rules and other information about the game are easily organized (Google Groups is not ideal for this purpose), and so that the Tumblr page can act as an archive for past photos and riddles.

With all this in mind, I happen to know two key things about Tom: he hasn’t played much in the way of augmented reality games (he, in fact, did not even play Pokémon Go), and he is a fairly bad photographer. So, although I know he probably expected to have his skills tested in terms of strategy, reflexes and other standard video game playing skills, I think having to take “good” photographs will be challenging and skill-testing for him. In this sense, one of my aims is to surprise him, and is a choice that is a bit teasing if not outright adversarial. It questions Tom’s assumptions around what skills are valid in video games.

Another goal for this project is to encourage Tom (and other players) to explore their surroundings. Since Tom is newly arrived to Fort McMurray, Alberta, I hope that this game will be helpful to him in giving him an excuse to wander and get to know the place. That’s the “Promenade” part of The Riddle Promenade. This aspect of the game may or may not be successful because my understanding is the weather has already gotten quite cold out there. Tom also mentioned during our Pathfinder game that he enjoys discovering “information, places and items” and “know[ing] the history and fluff.” Through his exploration, I hope that Tom will be able to engage with the history and local points of interest in Fort McMurray.

Now, anyone with a phone can go for a walk and take pictures. I wanted to give the exploration and the photography a goal and make it more likely that people would actually go take walks and explore. Since one of Tom’s stated interests is puzzles and riddles, I thought that a riddle which was answered with a photograph on a deadline would be a good solution. It’s clear from the success of Instagram and other social media sites that have photo-sharing options (Twitter, Snapchat, Facebook, Tumblr, etc) that people enjoy engaging with each other’s photographs, so this is a proven mechanic that I have decided to leverage in the game.

Additionally, this is a game with a flexible playtime, which, given the fact that Tom now works twelve hour shifts (four days on, four days off) is significant. Tom can think on the riddle while at work on other necessary tasks, and then pick a day to go for a walk for an hour or two in order to take his photograph. The frequency of the riddles and their deadlines may vary, but there will be no more than one a week, which means that Tom will be able to play when he can, without the game taking up too much of his spare time.

Overall, I think this is a game that Tom will enjoy and like, although it isn’t a traditional video game. Since Tom plays so widely in so many genres with so many mechanics, I think that a well-designed clone or reimagining of many kinds of games would have appealed to him. What I’ve tried to do is not only appeal to him but also help him adjust and deal with his new living situation, while connecting him back to a community that isn’t location-dependent.

It remains to be seen whether Tom will enjoy this game. There are a few challenges still ahead: finding and building a community of players, practicing my riddle-writing skills to make writing them a bit easier than it is now, and maintaining the game with regular updates once it is up and running.

You can find the game materials here:
Game Rules: the-riddle-promenade.tumblr.com

WORKS CITED
Steinkuehler, C. A. and Williams, D. (2006), Where Everybody Knows Your (Screen) Name:
Online Games as “Third Places”. Journal of Computer-Mediated Communication, 11: 885–909.

Eklund, L. (2013) Family and Games: digital game playing in the social context of the family. In
Quandt, T & Kröger, S (Eds.) Multi.Player. Social Aspects of Digital Gaming. Routledge: London

Platforms and Programming: One Month in the Life Postmortem

adventures in gaming, critical making, curious games, Process Writing

GuybrushSquarePortrait

[WARNING: There are a lot of feelings in this post and there is a lot of frankness — about mental health, mostly. MUCH FRANKNESS AHEAD. If that’s not for you, you probably shouldn’t read this.]

This past semester, I learned how to learn to program (no, that’s not a mistake). With the help and guidance of Rilla Khaled and Pippin Barr, I first learned Processing (Daniel Shiffman is a great programming teacher) and then after a brief evaluation of p5.js, moved on to Phaser and JavaScript.

[A note on guidance: all this learning actually happened under the guidance of a whole community of programmers both in and outside of TAG lab. When I couldn’t figure out how to space out the flower petals around my stem in a Processing exercise, the community was there to help. The other day, when it turned out that I hadn’t learned enough about object-oriented programming in JavaScript to properly manage states in phaser, the community was there to help. So, thank you, community.]

For something that I had been dreading for so long, it was revelatory to find out that I enjoy coding — like, really enjoy it! When the pressure is off and I can appreciate the puzzle of figuring out what to do, I like writing code a lot. This should come as no surprise: I love learning languages, which is why I know, in addition to English and French (the ones that I had to learn), Spanish, a bit of Italian, a bit of German, and an anime fan’s Japanese (so, also not very much).

But, the final project for this class is one of the hardest games that I have ever had to make. It was difficult for a variety of reasons. In my last post, I mentioned how Tom was getting ready to leave for RCMP training, and how I could think of little else, creatively and otherwise. That’s why I decided to make a game about the month between Tom learning of the RCMP’s decision and leaving for Depot. I wanted to take away some of the event’s power by making a game about it.

As I also mentioned in my last post, I would normally never, ever, ever consider making a game (or any kind of writing or other creative work) about something that happened in my life so close to when it happened. Normally, I’d let such an idea sit in a drawer for a few years and then give it a go. But, as I mentioned before, this was hugely preoccupying for me. After being with Tom for nearly ten years and never being apart longer than that one time last year when I went to Europe for 45 days, I knew that this was going to be a big change, and probably a very difficult one.

And it was. I just wasn’t prepared for how hard. A lot of the reasons that made it hard for me to be without him, even though he was an email or a video chat away were because of things that we would normally deal with together — but more on that later.

At first, I didn’t have much time to devote to the game: I had to finish up my semester’s course work, fulfill my TA responsibilities, get Tom ready to leave for the RCMP, and be present for a friend that was also having a hard time. I chose to prioritize my relationships with people that I cared about, and would do so again. And that’s where the time went, up until Tom left.

After Tom left, the game was my priority. I had finished my course work and everything else could be put off for a while. I went into hermit mode and started working on the game. And that’s when my 96-year-old grandfather went into the hospital.

Now, as someone who lives in a town with decent public transit, I haven’t yet acquired my license. We visit my grandfather fairly frequently, and Tom usually would rent a Communauto (car-sharing service) car and off we’d go. I was upset that my grandfather was sick and that I had to rely on there maybe being space in my relative’s cars in order to go visit him, or possibly not visit him at all (as it turns out, I now have a standing offer from a friend to drive me so long as she’s not at work). I was upset because, at 96, even small ailments can be hugely important, and these ones weren’t so small. I found myself completely unable to focus on the project. I felt like my brain was betraying me – this was when I needed to be able to focus the most, and I was getting nothing done.

livingroomfront

So, I left the scary parts for later. When I was able to focus, I did the parts that were familiar and pleasurable to me — I wrote dialogue, I drew pictures of my cat and my apartment, and I thought about the design of the game. But, when all that work was finished, the deadline was coming and I still hadn’t programmed anything. What’s worse, I couldn’t remember any of what I had learned all semester. On top of that, feeling like I might not be able to finish the project before the deadline was stressing me out even more, increasing the pressure.

I had actually chosen a slightly early deadline for the project, thinking that I would get nothing done during IndieCade East, which was happening right after the deadline and which was where we were going to show In Tune perhaps for the last time.

So, I fought back the feeling that I was somehow disappointing the people who had been so kind as to take time out of their schedule to teach me in a directed study this semester, and I wrote asking for an extension.

The relief was palpable when the extension was granted. That, along with the fact that, at that point, my grandfather was getting better and would be released any day, helped me regain my focus (unfortunately, he’s now back in hospital). Things went slowly at first, but working diligently through IndieCade East at the NYU MAGNET, with the support of some lovely friends there, I managed to program portions of my game. And I was enjoying it. And, given that this was my first time with JavaScript and Phaser, I felt like I was doing a pretty good job. I managed it! It had seemed impossibly stressful the week before, but things fell into place.

Well, so that’s how it was to work on this game. In terms of the workflow, what I would have of course liked to do differently is give myself more time to work on the project long before the due date – that’s kind of my style. But, up until now, I have had the privilege of an excellent support system that has allowed me to focus on my work, even when other things in my life were going on, and this was my first time doing without it. I’m not sure what I could have done differently about that.

That means that it’s time to talk about the game itself and the design decisions.

What I wanted to do in the game was juxtapose some version of the conversations that Tom and I were having about his departure with our cat’s daily shenanigans. As it says in the game, cats don’t care about human drama. They don’t understand it. So, what felt very dramatic and important to me didn’t have much of an impact on our cat at all.

I like the juxtaposition. The game is pretty slow-paced, so there’s time to read the conversations and interact with the environment (at least, I think so). My worry is that there aren’t enough animations to keep the player engaged in each scene.

For this project, I had to scope very tighly given the time frame, but I was also sick of certain of the choices that I usually make while making games on a short timeline. Namely, I wanted to try a different art style. I was sick of making pixel art for these short little games. This was at odds with the fact that I didn’t have much time to work on the game. Each individual animation was taking way too long to make. So, I had to make the decision to do story-board style animations, with very few keyframes and a simple style. Overall, it’s not what I had originally envisioned but I’m happy with the result given the timeframe.

I’m not a professional animator – I just dabble. What that means is that even the storyboard-style animations took enough time that I made relatively few of them. I wish that I could have made more of them, because I wanted to them to function as a visual reward for the player. How I made up for it is made it so that when you click the cat, messages about the cat appear, and I find those fairly entertaining. But that might just be me.

Of course, the most important thing to me about this game is that I programmed it myself in Phaser/JavaScript and that it works. That’s a big milestone for me. It was also one of the main goals of this directed study, so I’m happy that I managed it. It’s an empowering feeling, even if I know that I might struggle just as much the next time that I sit down to program something. I’m okay with that — knowing that I can do it at all is huge.

[This game is available for play here.]

overthrowthepatriarchy

Platforms and Programming: Final Project Begins!

adventures in gaming, critical making, Process Writing

I’ve done it! I’ve moved from Processing to p5.js to Phaser, now. After doing the p5.js tutorials, it seemed like there were few enough differences that I ought to move on to Phaser. My pace has slowed down a bit because of other responsibilities and, well, the fact that it turns out that I was very, very spoiled by Daniel Shiffman’s Learning Processing book. Holy cats, Shiffman! Would you please teach me all future programming things forever?! The Phaser documentation, in comparison, and other library documentations are really pretty horrible. Although I’m told that, in comparison to still other libraries, the Phaser documentation is abundant and clear and wonderful. So it goes.

Naturally, the introductory tutorial for Phaser is a one-screen platformer, something I can make in five minutes in Construct 2. It was essential that I find a project that would keep me engaged and motivated to learn, something like the Earth Twin project for Processing (although Processing is pretty appealing all on its own, I needed to find a project that used its more unique affordances, and that turned out to be computer vision stuff). We came up with the idea that I could combine the Tracery library by Kate Compton with Phaser in order to make something interesting.

So. That project.

I should start by saying that if this were a short story, or any kind of writing, I wouldn’t be touching it before at least a year or two from now, at minimum. It’s possible that a lack of clarity and perspective about the event will interfere with trying to fictionalize/make art about something that’s happening to you right now… It’s raw and tender. And sure, that can make great art, and people do this about their lived (with no fixed end point) experiences all the time. But, as a general rule, I don’t. I don’t really make personal games and if I do involve my own experiences (as one must, to a degree), it’s fictionalized and years after the fact.

Tom, my husband, is leaving for RCMP Depot Training on April 17th. This is a good thing! He made his first steps towards applying something like three years ago now, and he’s finally made it in. The steps to get here were endless. He’s put in a huge amount of work. He’ll be great at being an RCMP officer and jobs with the benefits and pay and other opportunities that this offers him (us) really don’t exist anymore.

However, I have known Tom for basically a decade, and in that time, the longest that we’ve been apart is when I went to Europe last spring for 46 days. He’ll be gone for six months! And afterwards, the chances of him moving back to Montreal is almost exactly zero. I’m a first-year PhD student – I’ll be in Montreal for years yet, and even when I’m done the things that require me to be physically present in the city, the truth is that the community here is unique and supportive in ways that don’t exist in any other Canadian city. Fully 75% of the postings are in the West, with only 25% in the East, so there’s not even a particularly good chance that he’ll be close enough for me to easily visit. They are supposed to take your family situation into account – they want your posting to be mutually beneficial to you and to them, but it’s a lot of uncertainty to have thrown into our lives. The RCMP tells you not to interrupt your life plans and to go on as if you’ll never get it (and when you consider that it took him three years to get in, one definitely could finish a graduate degree in that time, if not a PhD).

The time that he has left in Montreal before leaving coincides with the end of the semester at Concordia and, as a result, all of my deadlines. So, while I would normally a) not make a game about my personal life and b) would definitely not make it while whatever is happening is still in progress, this is all that I can think about right now. It’s taking up a huge amount of my headspace and emotional energy, and many of these deadlines can’t be moved (end-of-term work, TA responsibilities, public talks, conferences, a book chapter). So, in order to deal with it, I’ve decided to make my final project for this class about it. The hope is that it’ll allow me time to think even as I do all the other things that need doing.

THE GAME:

rcmpcatnotes

This is a game about juxtaposition and duration. It’ll take place over the course of 30 days (roughly a month), which is the amount of time that Tom had between finding out he was accepted and going to Depot and the time that he would be starting there. The genre that I’m aiming for is characterized by an account of events determined by a period of time, exemplified by books like One Day in the Life of Ivan Denisovich by Aleksandr Solzhenitsyn. In writing workshops, we often referred to it as the “a day in the life of” technique. The juxtaposition part is because this’ll be 30 days in the life of our cat, doing cat things (like playing with toys, destroying the furniture, napping), placed alongside procedurally-generated conversations (using Tracery) about topics that Tom and I (or people in similar situations to us) would have to discuss in this limited time-frame.

At first, I thought that I would have one top-down view and that would be the end of it, but then I thought about Molleindustria’s Unmanned which I think is an entry into my “day-in-the-life-of” game genre. The different scenes and perspectives in the game are really nice and very cinematic. Maybe that’s something that I can make work for me (although it will of course be more work). One thing that I like about this game is that the actions that the player has control over (with the radio, with smoking, with playing games with the main character’s child) are symptomatic/revelatory of the character’s internal life and affect the story, without allowing the player to overtly make decisions about the path of the story. The causal link between the two is vague in a satisfying way.

Rilla (Khaled) also pointed me to The Cat and the Coup yesterday, which I’ve downloaded but haven’t yet had the chance to play. I plan to play it as soon as possible.

Art-style-wise, I again do like Unmanned‘s style. I’m used to animating with PyxelEdit but I also like the sort of cut-out minimalist collage style of things like the Fiasco books. Here’s the cover of a Fiasco playset that my brother and I recently made for my friend Allison:

MagicalGirlMinimalistCover

I might go with this kind of style, but I’ll have to figure out a different animation/spritesheet making program. Help and suggestions would definitely be appreciated. I might experiment with OpenToonz but I’m worried about the learning curve in the short amount of time that I have to make this first version of the game. Hey, there’s of course nothing stopping me from working on it after I’ve turned it in for class! I will check it out and see if it’s simple enough (apparently there are a few stability issues).

So far, I’ve got a very basic Tracery thing working in a Phaser tutorial. More as it happens!

Two Weeks, Two Jams: Global Game Jam 2016 and Take Care Jam

critical making, game jams, Process Writing

I’ve been meaning to write for some time now about Global Game Jam 2016 and the Take Care Jam, two jams that took place one weekend after the other (which is why I guess why I haven’t managed to write about them yet, what with the jams and the work I had to catch up on afterwards). I thought that GGJ would be an exhausting all-nighter pulling event (because it usually is) and that I would then decompress at the low-key, care-focused Take Care Jam, but that turned out not to be the case.

I arrived at Global Game Jam on Friday in time to engineer our now-traditional Game Jam Blanket Fort (ever since Pixelles Montreal ran TeaCade, we are in love with comfy time-out spots at our community events – GAMERella had a pretty excellent one, TAG’s GGJ16 location had one, and so would the Take Care Jam, as it turns out). During GAMERella, my goal is to work with a new jammer and help them have a positive first jam experience. Global Game Jam is my more selfish jam – I like to work with people that I already know and trust.

So! There were plenty of people that I knew at the jam, but it seemed like many of them were about to agglomerate into one large group. At a jam, my preference is to work in a team of three or less – maximum four. I find that it’s easier to stay within a manageable scope and to quickly find mutual game making interests. So, after some quick decision-making, I ended up working with Dietrich “Squinky” Squinkifer for the jam.

THE GAME: “Most Sincere Greetings, Esteemed One”

[You can also read Squinky’s introductory writeup about the game here.]

We scoped with a laser-focus (see what I did there?) – having a two-person team meant choosing our priorities very carefully. Exploring the jam’s theme (“Ritual”) through some quick brainstorming maps and settled on exploring the awkwardness of greetings. We chose to use as much theatricality and physicality in the game as we could, and so we hit on a game where players would be instructed to perform different greetings with one another. We made an aluminum-foil gong as a button using a Makey-Makey and had players wear the Muse headset to help set our stage. Combined with Squinky’s JavaScript/JSON/web dev skills and the Tracery library (link) to create procedurally-generated instructions, how could we miss?

By the end of the first night (we closed up shop at around midnight, having started to jam in earnest around, let’s say…6:30PM?), we basically had a working version of our game…From there, we just kept adding, polishing and giggling to ourselves about all the excellent procedurally-generated content that we were building, and doing our best to put our best foot forward on all of the items that it was possible for us to share on our game’s global game jam page: a gameplay video, a dashing team portrait, a github repository of our code, screenshots from the game, etc.

teamGIOBAGportraitsmall

teamGIOBAGportrait2small

The great thing about this jam is that I went home to sleep both nights and didn’t feel any time pressure. I really enjoyed working with Squinky – we share similar senses of humour and they are a great jam partner. They’ve also got mad skills – both for making games and cookies! Our game even won an award for our prop-use.

The Take Care Jam, hosted by the Atwater Library in the context of Shanly Dixon’s Cyberviolence Against Women research, and planned and run by Stephanie Fisher and Kara Stone, is proof (much like my experience with Squinky at GGJ) that you don’t have to do a long crunch-filled jam for people to end up with interesting prototypes and ideas by the end. The weekend was filled with food breaks, multiple yoga sessions, and people just chatting and spending time with one another. We still made great things.

My team, which consisted of Nicole Pacampara and Amanda Tom (two people I was very happy to get the chance to finally work on a project with) along with honorary teammate Squinky (who fixed everything for us at the end with their mad skills and who I have already had the pleasure of working with) worked on a project about taking care of ourselves and of other people. The basic idea is that with a password-protected google form (you can see it here but I won’t tell you the password — you can ask for it if you like though – we just didn’t want people to add mean things) that creates a google spreadsheet. Using the spreadsheet as our database, we pull a random entry and display it on the Take Care Teller, which is like a fortune teller except it gives you an encouraging message or advice.

Here’s the current prototype of the Take Care Teller, hosted on Nicole’s site.

As you may have read by now, I’m learning Processing, and the amazing thing about this jam for me was realizing the literacy that learning Processing is giving me in other coding languages, too, just because there are lots of things that carry over. So, I was able to read most of our code that weekend (although I couldn’t have written it — that’ll come later, I hope).

At the end of the jam, after presenting our work to each other, we planted seeds from the Atwater Seed library (Guybrush the cat has knocked mine over already, but I will replant once he’s gone to his forever-home with Squinky — which will be soon!).

So, more on Processing soon…I’ve learned to do weird video googly-doos and plan to finish the book in the next two weeks!

80smusicvideoo

motiondetection2

Critical Making and Design: Rita Hayworth Isn’t In This Game

adventures in gaming, critical making, Process Writing

This week, for my directed reading course, I attempted to make a game using alienation theatre techniques, as described by Brecht in his Organum on Theatre. The only person that has playtested it so far is my husband, so I only have his and my own opinions to go on so far to judge how well the project turned out. For what it’s worth, I had fun with it! I will also be reading Boal’s Theatre of the Oppressed and Frasca’s Videogames of the Oppressed, but have deliberately avoided reading and engaging with them until after I finished making this game and writing about it.

As a reminder, you can watch a bit of the film as a reminder of some of the scenes that I’ve taken inspiration from…

This is a game for people who have seen The Shawshank Redemption. It probably won’t do anything for you if you haven’t. That being said, you should both read “Rita Hayworth and the Shawshank Redemption” and watch “The Shawshank Redemption” if you haven’t already.

You can play the game here: http://jekagames.itch.io/rita-hayworth

Specifically, the Brechtian concepts I’m engaging with are the ones elucidated in sections 39, 41, 43, 44, 47, 48, 49, 50, 51, 54, 67, 72, 75, of Brecht’s Organum. You can read paraphrase notes on the Organum here: http://peterbuwert.com/research/?p=69 – I found them helpful, because while Brecht writes very well and has interesting things to say, it can be hard to tease out a simple summary to describe his meaning. I’ll pull out some of Buwert’s paraphrases to explain some of my choices for this game.

Sections 47, 48, 49, 50 and 51 are perhaps the ones that influenced me the most for the game.

“47. The actor must abandon all attempts to get the audience to identify with the character. His speech must not flow in the way we expect an actors speech to flow ‘parsonical sing-song’.”
(Buwert)

Morgan Freeman’s voice is itself a character in cinema – his warm, friendly narration is unmistakable. So I got rid of it. Much of the audio in the game consists of truncated text-to-speech versions of Freeman’s voiceover. I have to say, it almost hurts. But, for me, hearing his lines interpreted by CodeWelt’s CW Speak both calls to mind the film, Freeman himself, and a strange reality (the one I have created) where it isn’t Morgan Freeman speaking the lines – thus separating the actor from the character, as is suggested in section 48 and 50.

Similarly, in the opening introduction/contextualization of the game, I identify the “agents” of the game (the “yous” that I address with “You are,” if you will): Andy Dufresne, the actor that portrayed Andy Dufresne (Tim Robbins) and the player, further trying to separate the actor from the character and, as in section 49, trying to demonstrate the thoughts of opinions of all those agents. I tried to keep this separation clear by addressing the Player in the various mini-games, also writing in opinions for actor Tim Robbins (who would like to win an Oscar), and instructing the Player to “help Andy,” further highlighting the separation between the two of them.

Sections 51 and 72 say, in paraphrase:
“51. In order that the viewer identifies the character as being the portrayal of a particular individual at a certain moment in a certain situation, all illusions that the actor is the character and the set is the location must be broken.”

“72. The composer is liberated in no longer having to create an atmosphere to aid spectator immersion. Likewise the set-designer no longer has to create the illusion of an actual place. The set should give hints of greater interest than a mimetic representation would.”

Many of my aesthetic choices for the set pieces and character animation stem from these two sections. I was also limited by time, having made this game in under a week, but I also deliberately chose to not model the sets after those seen in the movie (with the exception of the pipe scene, which I really wanted to feel like the movie even if it didn’t quite look like it). Similarly, there is no music in the game because Brecht suggests in section 71 that songs should not be used for emotional expression or discharge — which is exactly the use of all the music in the film. Trying to use songs to demonstrate something extra, on top of all the other outputs of the game (text, audio, visual, etc) seemed like it would be excessive.

Section 41 says, in paraphrase by Buwert:
“41. It is a process of sketching, where ‘the way it is’ is accompanied by a multitude of possibilities of ways ‘it could be’.”

To represent this, I have animated a ghostly character, identical to Andy/Tim who follows Andy/Tim around and performs other possible outcomes – mostly involving walking in the other direction or tripping.

“44. Things which never seem to change seem to us unchangeable. The viewer must be amazed by the familiar and through this come to question and interrogate normality.”
(Buwert)

Section 44 affected my choice of material. The Shawshank Redemption is a much-loved movie and, according to IMDb, it, along with The Godfather, are the top-rated movies of all-time. It also features, as previously mentioned, Morgan Freeman’s voice, and other things that seem constant and comforting. As such, I felt it was appropriate material for this game.

Finally, as Brecht reminds us in section 75, my goal was entertainment, to some degree, and so I tried to keep a good sense of fun and humour throughout the game.

Okay, time for what went well and what didn’t go so well:

THE BAD
– This game took way longer than I anticipated, and I only started to make it on Saturday after carefully considering what I would do, because all of my work seemed to take longer than it should have this week.

– The bugs! One problem with working with a semi-WYSIWYG program like Construct 2 is that it isn’t always clear why something goes wrong. Specifically, I had a great deal of trouble with audio for this project, and without the audio, the project sort of falls apart, without the absence of Morgan Freeman’s voice and other contextualizing quotes from the film.

– As always, I am learning to use different design approaches to make games and other objects, and I don’t know how well I am reconciling making a “good” game and getting the ideas that I intend to across. For what it’s worth, my one playtester seemed to get the sensations and provocations that I was going for.

– I’m still not programming in JavaScript or learning a programming language…I think I’ve got the logic down, though, and someone recently suggested this cool-looking game to me for further practice: The Human Resource Machine (http://tomorrowcorporation.com/humanresourcemachine). I plan to start in Phaser soon with JavaScript, if I ever find the time…

THE GOOD
– Those SHOES – I’m quite happy with my shoe-shining animations.

– Global Variables: I used something like five or six global variables as switches in this game, and I’m quite happy with the results. I feel like this game was excellent practice for me.

We’ll see what players have to say!

Critical Making and Design: Cultural Ambassadors

adventures in gaming, critical making, Process Writing, research

This week, I made a game called Cultural Ambassadors by attempting to defamiliarize Space Invaders and the act of shooting.

Given that I had just a week (and that I am trying to limit the number of hours I spend on this one class), I started with someone else’s Space Invader clone made using Construct 2. In playing it, it quickly became clear that this wasn’t quite a perfect clone of the original game, but close enough for the base on which I would build this new game.

GolbosonGlobesletter

Taking a common way that I’ve seen defamiliarization explained (“What if an alien encountered this cultural object – how would they understand it?”) to its natural conclusion, I made a game where aliens are enamoured with our television commercials and think that places like Starbucks and McDonalds are really kind of awesome — and isn’t it a shame that not everyone has access to the rolled back prices of Walmart? So, helpfully, the Golbos on Globes team (they were very impressed by Holmes on Holmes and Extreme Makeover: Home Edition) has decided to make over your planet…starting with your town. And by you, I mean a tiny robot carrying a book with the ability to beam cultural objects up to these aliens to counteract all that they have learned from cable commercials.

bookrobot

As errant hammers fly, there’s the chance that they’ll miss the building that they are converting and accidentally hit you instead. Meanwhile, you send them books, movies, games, music and other cultural objects to take a look at. Those who are affected by them have minor epiphanic moments (“oh I see”, “I understand!”, “now I get it”) and leave Earth’s skies.

Here is the list of items that the game chooses from for you to throw:
“Throwing Cultural Object: ” & choose(“Octavia Butler’s Kindred”,”Will Shakespeare’s Plays”,”Gone Home by Fullbright”,”Jesus Christ Superstar”,”Amadeus (1984)”,”Tanya Tagaq’s Throatsinging”, “Thomas King’s Green Grass Running Water”, “Schindler’s List (1993)”, “Europa Europa (1990)”, “Carl Sagan’s Cosmos”, “Anita Diamant’s The Red Tent”, “Marjane Satrapi’s Persepolis”, “Kurt Vonnegut’s Welcome to the Monkey House”, “Squinky’s Coffee: A Misunderstanding”, “Margaret Atwood’s The Handmaid’s Tale”, “Harper Lee’s To Kill a Mockingbird”, “S. E. Hinton’s Rumble Fish”, “Jean Paul Riopelle’s La Roue/Cold Dog – Indian Summer”, “The Inevitable Defeat of Mister and Pete (2013)”, “Idiocracy (2006)”, “Journey by Thatgamecompany”, “Anna Anthropy’s dys4ia”, “Ralph Ellison’s Invisible Man”, “Arundhati Roy’s The God of Small Things”, “Bryce Courtenay’s The Power of One”, “Paul Coelho’s The Alchemist”, “Richard Adams’ Watership Down”, “Papo y Yo by Minority”, “Simon and Garfunkel’s The Sound of Silence”)

Given that the game was made in under a week, I mostly went with what occurred to me to chuck at aliens if I wanted them to understand my culture beyond McDonald’s commercials – which feels fine for a prototype. However, also, given that the list is short, each entry matters more… I had to decide if my loving a cultural object and thinking that it was interesting was enough for it to go on the list – and I tried to mostly stay away from “canon important cultural objects”, which are mostly the work of dead white dudes, and instead include a bit more variety. Then again, I happen to love Shakespeare and chose to include his work — and I guess that it’s okay to appreciate and love an object even understanding that it might contribute to a problem or be problematic, something that I occasionally wrestle with. I tried to balance it out with work by creators that I feel might be underexposed or would be excluded from the canon.

McDonaldsStorefront

StarbucksStorefront

WalmartStorefront

Something that you might be interested to know is that I have never made a game that involved the act of shooting before. That’s a conscious decision and that might actually be why I chose shooting as something to defamiliarize. However, because I started from Space Invaders, there’s some meaning embedded in the rules already, and the act still feels oppositional. There’s a lot of history in the act of shooting, I guess, and shooting hammers or wifi beams doesn’t erase that, especially in as familiar an object as Space Invaders. Trying to get shooting to feel like something other than shooting is difficult. What I think does work is this idea of accidental or unintended harm on the part of the aliens and their colonizer attitude. What doesn’t work, is, as I’ve mentioned, this sense of opposition — that we should shoot at the other, or assume that they mean us harm.

One of the things that I am quickly realizing about my approach to design work, having done three projects in three weeks, is that I enjoy making things that revolve around some element of humour, but that I want my audience to be in on the joke – or I want it to be possible for them to be in on the joke without too many obstacles.

Critical Making and Design: Defamiliarization Posters

critical making, Process Writing, research

So far, what I am learning about myself as a designer is that I have a hard time leaving humour out of the equation. For example, last week, I suggested that we dump baking soda in the ocean to help the pH and strap aquarium filters to dolphins to protect them from the folly of man. This week is no different.

My task for this week was to design two posters that advertised defamiliarized objects (and, as a consequence, to engage in the defamiliarization of two objects). The easiest way to explain what that means is to direct you to this video:

(Any blog post where I get to put in a video of The Little Mermaid is good by me!)

Defamiliarization takes an object and reimagine a use for it, or imagines what an alien consciousness would think it was used for, if they didn’t have anyone to explain it to them.

This assignment was way harder than I expected it to be. I guess that this means that I have trouble separating some objects, especially the really familiar ones, from their uses. I think that if I had chosen more complex or uncommon objects, it would have been easier to defamiliarize them, but then they would have meant less because they were less recognizable to start with. Some objects were harder to separate from their uses than others – for example, I could not seem to dissociate chairs from sitting.

Here are the results, installed in the “wilds” of the TAG Research Lab:

theinfuserInstalled
MyBubbleInstalled

Since I had two posters to design, I chose to approach each object with a separate way of attempting to defamiliarize them.

theinfusersmall

The first object, the “infuser,” was designed using a language-based approach. I thought about the words “infuser”, “diffusion,” and other related terms. I worked at defamiliarizing the language associated with what infusers do, and thought of words that had multiple meanings, such as “medium.” What I ended up with is partially a visual gag and partially a verbal gag — many mediums are present on the page: water – and paint representing water, print, paper, writing, and the internet (represented by the hashtag). Then, for good measure, the phrase references Marshall McLuhan and that tired, oft-misunderstood old chestnut, “the medium is the message.” Of the two posters, I think this one is the least successful.

(FUN FACT: The painting in the bottom third of the poster is something that I painted when I was 15 years old.)

mybubblesmall

The second object, the “bubble,” was not what I had originally decided on making. Initially, and yeah, this one might also have come to me in a dream, much like the DELFINOX, I wanted to design a clock that would teach you to dance based on the different gradations. As you got better at learning dance steps, you would use shorter and shorter intervals to learn. So, you could use the different intervals on the clock – seconds, minutes, 5-minute chunks, 15-minute intervals, half-hours, whole hours. It quickly became clear that this would be impossible to communicate in an ad or on a poster.

The bubble, instead, is based on something that tall people know all about: accidentally hitting people or being hit with an umbrella. Or, in the case of this object, not so accidentally. This object imagines leveraging this accidental quality of the umbrella with intent – to take back one’s space. About some of the visuals in the poster: the trees at the bottom with the empty space in between are meant to recall large crowds which have been parted to leave elusive personal space in-between! The formula, f=ma, is meant to suggest the motion of the umbrella, coupled with the directional arrow. The curly bracket is also vaguely shaped like the top of an umbrella, which is why I also included it in the “logo.”

So far, the posters have been up for about five hours, and already a few people have commented to me that they love the idea of taking back their personal space. I was very stealthy when I put them up, and surely no one knows their source.

Critical Making and Design: Thinking about DELFINOX

critical making, Process Writing, research

This September, I’ve officially started my PhD, and with it, a pretty amazing directed reading course with my supervisor, Dr. Rilla Khaled, entitled “Critical Making and Design”. Since we’re keeners, we started a little earlier than the class start date, and I’ve already had the chance to do a bit of design work and am learning a lot. With that in mind, I’ve decided to start this series of blog posts talking about the design process and the objects themselves.

The first object is called the DELFINOX and it is a filter system for dolphins to help them in their “double-bind” between ocean acidification and pollution and air pollution. Here is a PDF document that is meant to accompany the object.

Delfinox Picture small

This is the object itself. It’s made of mostly recyclable, reusable or reused materials, with the exception of some duct tape and a few materials that I’m unsure about. The blue plastic is PLA, or polylactic acid plastic. The green tubing is recyclable plastic, possibly originally intended for aquarium use. The black rubber hose is borrowed from a small stash of extra scuba diving equipment that my household has around. There’s also crafting foam used to approximate neoprene and part of a household sponge for the filtration system.

The instructions for this object were fairly free-form – in a nutshell, they were to make a thing and see what happens. Dolphins were not my first thought.

At first, I discussed what I had to do at length with just about everyone who I happened to be spending time with – friends, family, other researchers. I was excited – this was my first official PhD assignment after all – and my first formal design object.

So far, the critical design examples (and I’m using that term very broadly, thinking of design as a spectrum where designs can be critical or affirmative of existing norms and practices to varying degrees) that I’ve been reading about are, at their core, about anxieties or fears. Many deal with the fear of death in some form, whether it be Dunne and Raby’s huggable plush mushroom clouds (from Designs For Fragile Personalities in Anxious Times, 2004/05), or the Prayer Companion (an object that I find a bit questionable, both in terms of taste and the tone in which the project is framed).

At first, in searching for my design inspiration, I thought a lot about waiting. I thought about what I do when I’m waiting, how waiting alters my perception of time, how maybe waiting could be a good thing – which led me to the converse. What happens when waiting is a really bad thing? What happens when we wait too long?

I’ve been a scuba diver for eight years now, and a human being on the planet earth for, oh, just a little bit longer than that. I think about water a lot – and that means I think about climate change and their impact on the water, too. It is something that makes me anxious, because it often feels like I have very little direct control over it. And, although I am hopeful, so far, we have been surprisingly short-sighted and stubborn as a species when it comes to our approaches for dealing with climate change.

Now, I know this is a bit silly, but after thinking about the project for a few days, the idea for DELFINOX came to me in my sleep. In the morning, I joked with Tom (my husband) about it a bit, as I imagined this object: “What are we going to do, fit aquarium filters onto all the dolphins? Well…maybe.”

Despite knowing that the object would not in fact have to work, and would probably never be within 100 kilometres of a dolphin, it was nevertheless important to me that my approach was possible, if improbable. I studied dolphin physiology – specifically, how dolphins breathe and how blowholes work, and I thought about how my scuba diving equipment operates. I wanted to design something that, in theory, wouldn’t need an air tank (even rebreathers need a small cylinder). However, most dolphins surface fairly often for air (about every 15 minutes or so), so it wasn’t necessary that there be a whole lot of air in the system, just that it could filter through the system sufficiently to be scrubbed before the dolphin needed it, or enough for there to be an emergency supply. So, I added a longish tube that would rest against the dolphin’s body.

In terms of powering the device, dolphins swim fast and can expel air fairly strongly through their blowholes. It made sense to me to use the motion of the dolphin to power the device, sort of like the way that the motion of the water is used in hydroelectricity, or, that classic comic idea of a hamster running in a wheel.

My choices when it came to crafting the physical object were based on three goals: trying to reuse objects that I already had on-hand (such as previously printed items from my 3D-printing recycling box, or the borrowed scuba hose), trying to remind the viewer of an aquarium filter, and trying to make choices that would be comfortable, unlikely to be torn off, and practical long-term for a dolphin.

In a way, this object, although the notion of fitting each and every dolphin with one may seem impossible, is about taking back control over something that seems so far beyond my control. Feeling a personal responsibility for climate change as one of billions of people is an uncomfortable feeling. This object imagines a future or even a present where human beings do feel responsible for each and every dolphin, for example, and take personal responsibility for them. It is too easy to lament about climate change and say that there is nothing to be done. Collective actions start with individual ones, I guess.

A SMALL SIDEBAR: Because this came up when I was talking about the project a few times, I thought I’d share this somewhat gruesome story that I had in mind while working on this project. Dolphins have a particular history here in Montreal: for Expo ’67, the city acquired dolphins, which were hosted in the Montreal Aquarium (also known as the Alcan Aquarium, a company my father used to work for). After Expo, people sort of forgot about the aquarium, and in 1980, there was a blue-collar workers’ strike. The six workers who were responsible for feeding the dolphins refused to do so, and three of the six dolphins starved over a course of months. Their trainers tried to save them at the end, but they waited too long.

You can watch footage of their arrival to Montreal here.

Here are two newspaper article detailing the event at the time:
The Evening Independent

Spokane Daily Chronicle