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Contents
Acknowledgements
Introduction Creative Territories in a Nutshell (and a Diagram)
Context
The Network
In house ThreeBenefitsofColocation
Milieu
House Rules
The Wider Community
CriticalMass
Summary
Front of house Grounding Creativity
Creative Relations
Neighbourhub
Summary
Conclusion
1
2
3
4
1
AcknowledgementsThanks to the Creative Territoriesnetworkforawealth
ofthoughts,researchandcontributions.Specialthanksto
ourgameshubbers,TomasRawlings(Bristol Games Hub),
AlexDarby(ArchCreatives)andJPvanSeventer(Dutch
GameGarden),theprojectpartnersUtrechtUniversity
&theBristolGamesHub,andtheco-investigator,Helen
KennedyofBrighton University-allofwhommadethisArts
&HumanitiesResearchCouncil(AHRC)projectcomealive.
AfinalsignificantthankstoAHRCforthedecisiontofund
thisVideoGamesResearchNetworkingcall-theirsupport,
encouragementandenthusiasmhavebeenconstantand
invaluable.
HelenKennedy,JonDoveyandNickTriggsreaddrafts
andprovidedmanysuggestionsandimprovements.The
DigitalCulturesResearchCentre (UWE Bristol)provided
astablehomebaseformuchoftheprojectactivity.Josh
JarrettcompiledtheworkshopsummariesontheCreative
Territorieswebsitewhichwereavaluableresourceforthe
productionofthisguide.
2
Creative Territories in a Nutshell (and a Diagram)ThisGuidecomesfromtheactivitiesoftheArtsand
HumanitiesResearchCouncilVideoGamesResearch
NetworkingSchemeproject,CreativeTerritories.The
projectlookedattherecentemergenceofsmalland
independentgamemakercollectives.Theaimsweretoget
somebearingsontheseaspartofthegrowthofindiegames
productionandtoconsiderhowtosupportthemasvaluable
componentsinthelongtermsustainabilityofthisimportant
breedinggroundofvideogamecreativitywhichisalsonowa
significantsectoroftheindustryinitsownright.
Ourscopingoftheterritorytheserecentlyemerging
collectivesofvideogamemakersoccupyissummarisedinthe
diagrambelow.Itshowsthatvideogamemakerswhocome
togetherinsharedworkarrangementsliveininterconnected
andoverlappinglocal,regional,nationalandglobal“places”.
OurGuideisabouthowto“livelongandprosper”there.
4
GAMEDEVELOPERASSOCIATIONS
GAME & DIGITAL MAKERS
SCHOOLS & COLLEGES
INFORMALDIGITALMAKERGROUPS
GAME&DIGITALMAKERS
GAMES&CREATIVEECONOMY ORGANISATIONS
UNIVERSITIES&TERTIARYEDUCATION
GLOBAL GAMES INDUSTRY
GLOBALMEDIA
REGIONAL/NATIONALMEDIA
ARTS & CULTURAL ORGANISATIONS,NGOS
COMMUNITYGROUPS& NETWORKS
LOCAL GOVERNMENT
LOCALBUSINESSES
CITIZENS&NEIGHBOURS
RESEARCH FUNDINGBODIES
HUBRESIDENTS
SUB-GROUPS
ORGANISERS
KEY
LOCALREGIONAL/NATIONALGLOBAL
5
FortheCreativeTerritoriesnetworkbusinessandculture
aresymbioticallylinked—thereisnoeconomywithout
culture,andthisisespeciallythecasewiththe“experiential”
productsofthecreativeeconomylikevideogames.Taking
careofeconomicdevelopmenthastotakecareofculture
justasmuchasculturalpolicymustalwaysconsiderhow
itmakespossiblesustainableformsofwork,playandself-
realizationfortheindividualmembersofthecommunity.
Makingacommerciallysuccessfulindustrythatwilllast
morethanafewyears,andthatwilltakerootinacommunity,
aregionandanationandbecomepartofitsidentity:allthis
iswhatmakesatrulyvaluable“creativeterritory”.
We found that
• Creativityisasociallyenabledandcommonlyheld
culturalasset
• Newtoolsandnewmarketsmeanthatindiegamescan
workatamicrobusinessleveldevelopingnewproducers
and new talent
• Whilstthegamesindustryisaglobalmarketplaceits
productionisalwayslocal
• Microgamebusinessesbenefitfromco-locationand
collaborationopportunitiestogivethemsharedknow-
howandtoenhancetheirprofiles
6
• Hubsandtheirnetworkscanprovideinnovationtest
bedsthatamelioratetheboomandbustcycleoftheAAA
games industry
• Creativebusinesseswillthriveandbecomesustainable
whentheyareembeddedintheirregionaleconomies
• Greaterdiversityproducesbetterinnovation
• Diversityrequiresactiveinclusionpractices
• Thevalueofhubsandtheirnetworksincreasessharply
whenindependentmentorsandproducersareattached
tostart-ups
• Differentregionswillproducedifferentkindsofhubsin
termsofthelocalcommunityofpracticetheyarepartof,
thekindsofgamestheyproduce,thekindsoftalentthey
developandprocessestheyuse
Recommendations
ForHubsandTheirMembers
• Beopentonewpeopleandnewtalent:hubsneeda
regularrefreshofthebeneficiaries
• Operateasahubforthesurroundingcommunityof
gameandcreativemakersviaevents,socialmediaand
collaborationwithothergroups
• Developaninclusionpracticenotjustapolicy
7
• Hubsshouldworkwiththeirregionalschools,colleges
anduniversitiestomaintaintheirtalentflowandhelp
transformperceptionsofgamesascreativecareer
• Createopenandaccessibleopportunitiesfor‘non
members’inthelocalcommunitytoengageandexchange
8
ForThoseSupportingGamesandCreativeEconomy
• Recognisetheresilience-buildinghubscandofor
fledglinggamebusinessesandincludeitinyourplansfor
strategicsupport
• Usethecriticalmassofthehubforstagingandpromoting
events,initiatives,andforconsultingthegrassrootsof
the industry
• Volunteerrunhubswilldoevenmorefortheirmembers
andlocalgamemakernetworkswithsomestaffsupport
formanager,mentor,marketingandfundingsearchroles
• ForSchool,CollegesandUniversities:Explore
opportunitiesforfruitfulexchanges,teachingvisits,
placementsandresearchwiththehub(remembering
theyarenotMicrosoftbutseveralindependentcreative
producersbusygrowingviablebusinesses)
9
Context
SosaidDerekDeFilippoofKujuEntertainmentuponthe
launchinmid-2014oftheir KujuStartupssupportfundon
theSeedrscrowdfundingplatform.Kuju’ssavvyinitiativeto
connecttothissceneincludespartneringupwithsomeof
theemergingindiedevelopergroupsliketheBristol Games
HubtohelppushoutKujuStartupsandtogatherandadvise
promisingprospects.
Thislittlestoryillustratestwoofthethreemainthingsabout
independentgamesdevelopmentintheUKrightnowthat
motivatedthedevelopmentofThe Good Hubbing Guide:
1. Thatindiegamedevelopmenthasindeedbecomea
significantcomponentofthevideogameindustryhere
(aselsewhere)foranumberofreasons—economic,
technological,andcultural.Theglobalfinancialcrisis
“The way we see it, the indie movement in the UK is thriving, and what that is creating is a scene of innovation”.
10
hittheestablishedconsole-basedindustryatabout
thesametimethatthesmartphoneandtabletdevices
wereopeningupnewplatformsforlessAAA-looking
gamesandgamifiedapps.Steam,gamebundlingand
otherdistributionmodelsalsofilledthevoidwith
cheaperanddifferentkindsofgames.Cross-platform
gamepackages(aboveallUnity)andusercommunities
bridgedthegapbetweenexpensiveproprietary
enginesandindieproductiontoolsets.Culturally,the
maturingandexpansionoftherangeofgames(and
gameplayers)startedtobreakdownformerlystiff
barrierstolegitimacyforgamesasaformofexpression,
experimentationandseriousculturalcontribution.
Indiecadeco-founderCeliaPearce says we are at a
“watershedmoment”fortheindustryandcitesthe
2014IGDADeveloperSatisfactionSurvey result that a
gamehigh48%ofrespondentsidentifiedthemselvesas
independent.
2. Thatcollaborationsbetweenindiegamemakers
(developersbutalsowriters,graphicartistsandaudio
producers)haveemergedthatofferimportantcommunity
andenterprisesupportsuchastherelaybetweenaspiring
indie,establisheddeveloperandinvestmentfundingin
thestoryabove.TheBristolGamesHubisrepresentative
11
ofnewshapingsofcollaborationbetweenindiemakers.
Itsharessomeelementsoftheuniversityenterprise
incubatorsandthecreativeindustryhotdeskproviders
(typicallylocalgovernmentorregionallyfundedinitiatives)
butitisdifferentalso.Itsgenepoolisatleasthalffullofthe
indiegame“communityofpractice”thatOrlando Guevara
Villalobosdescribedin2011—organisedaround“the
practiceofgamedevelopmentandthepassionunleashedby
thenatureofthetasksentailedinit”andpoweredbysocials,
gamejamsandmeetupsatindustryconventionsandother
events.TheBGHandothersimilarco-locationshavemoved
ontowardmoreelaboratecrystallisationsofthecommunity
ofpracticetowarda“communityofproduction”thatbring
newpossibilitiesaswellasnewchallenges.
12
3. Sowhatisthethirdthingweareinterestedin?It
isabouthowthefirsttwofittogether,andhowthey
couldorshould.The Good Hubbing Guide gathers
thecollectiveefforts,witandwisdom(yes,weare
wizards)ofanetworkofresearchers,gamemakersand
creativesectorpeoplewholookedintothewindowof
opportunitycreatedatthis“watershedmoment”for
indiegamestoidentifyhowtomakethisasustainable
transformationofthebusinessandcultureof
videogames.
13
The NetworkCreative Territories is an ArtsandHumanitiesResearch
CouncilVideoGamesResearchNetworkingSchemeproject
thatranfrom2014into2015.PatrickCroganoftheDigital
CulturesResearchCentrewastheprincipalinvestigatorwith
co-investigatorHelen KennedyoftheUniversityofBrighton.
TheprojectpartnersweretheBristolGamesHub(with
co-directorsTomas and Debbie Rawlingsasourbestfriends
there)andtheCenterfortheStudyofDigitalGamesand
PlayatUtrechtUniversity(representedbyProfessorJoost
Raessens and StefanWerning).Biosforallthemembersof
thenetworkcanbefoundonourprojectwebsitehere.And
theCreativeTerritoriessitewillcontinuetobethevenuefor
furtherreflectionsanddiscussionpapersabouttheproject.
The Good Hubbing Guideisbasedontheproject’sworkshops
andotheractivitiesandsynthesisesthebestbitsofour
discussions,debates,disagreements,dinners,derives,and
otherdalliances.Weranthreemajoreventsandsomeextra
activitiesandmeetings.Alunchwiththeresidentsofthe
BristolGamesHubwasfollowedbyahalf-dayeventinApril
2014beforethefirstinternationalworkshopinMayatthe
Hub.Aftersometimedigestingallofthatandexploringsome
14
ofthenewconnectionsmadewereconvenedinUtrechtin
AugustaspartofUtrechtUniversity’sgraduate summer
schoolingamesandplayresearch,andmetattheDutch
Game GardenforatourandsomediscussionswithGarden
residents(shouldtheybecalledgnomes?).InNovember
we held a network meeting and a symposiumforinvited
graduateresearchers(supportedbyourproject’sbursary
fund),developersandcreativeorganisationswhichbrought
overourDutchmembersaswellasindiegamedeveloperand
Indiecadeco-founderCeliaPearce (Northeastern University)
andgameseducationalistandactivistJenJenson (York
Universityandthe“FeministsinGames”project).
Welookedatalotofdifferentcollectivesandcollaborations
betweengamemakersandotherinterests,butourmajor
casestudiesweretheBristol Games Hub,theDutchGame
Garden (JPvanSeventer)andtheLeamingtonSpaArch
Creatives (Alex Darby).Thesethreeventuresprovide
differentinstancesofthesenewkindsofcollaborations
withdifferentfundingarrangementsandorientationsto
developer,state,communityandeducationalconstituencies,
buteachareworkingatformalisingthismodelofa
communityofproductioninasustainableway.
15
The Good Hubbing Guide is organised into ideas and
approaches about:
In-house:whatandhowco-locationofindiegamemakers
worksinpracticeinthehubswelookedatandwhatwe
canlearnfromthat.Thissectionalsoincludessomeideas
about “houserules”thatthehubshouldcollectivelyputtogetherandputintopractice.Thisisan(economic
asmuchasethical)argumentforcodesofconductand
guidelinesforinclusionanddiversity(andforwhatkind
ofbehaviourbelongsinthedoghouse).
Front of house: whatkindsofrelationshipstothenon-game
communitythegamemakinghubshouldcultivatethat
workbesttogrowastrongcreativeterritory.
16
Three Benefits of ColocationInourworkshopswespentalotoftimelookingatthe
benefitsandthepossibilitiesofbringinggamemakers
togetherphysically,howthisworksandcanworkbetter.
Thekeygainsinworkinginasharedspacewithother
independentgamemakersaresimilartothoseidentified
byothercreativeandspecialistmakersforexampleinthe
Fablabmovement(recentlyNESTAhaspublishedsome
excellentdataaboutthegrowthofthesekindsofspaces
acrosstheUK).Thesegainsrevolvearoundthreemainareas:
Theemergenceofamilieuthatprovidesmoralsupport,a
socialnetworkandprofessionaldevelopment.
Theimportanceoflinkingthecollectivetothewider
communityofgamemakersandfellowtravellers
Theattainmentofacriticalmassthatopensupaccessforthe
individualgamemakerstoarangeofcommercial,creative
sectorandcommunitynetworksofpeopleandorganisations
interestedinwhattheyaredoing.
18
MilieuEventhoughtheyareworkingondifferentprojects,co-
locationleadstothesharingofexpertiseamongstresidents.
Dan Ashton’s summaryofaworkshopaboutthisatthe
BristolGamesHubidentifiedbothspecialistandmore
genericknowledgesharinggoingon.Agraphicartistcanget
someadvicefromaprogrammer,orsometechnicalfixcan
besharedbetweenprogrammers.Sometimes,asinthecase
ofTurboIslandGamesattheBGH,newpartnershipsand
newprojectscanarisefromafertilemilieu.ButasMathijsde
Vaan,DavidStarkandBalaszVedrespointoutinexamining
collaborationingamemaking,itisa“messyprocess”and
thishastoberespected—peoplespeakingindifferent
tonguescansometimesfindthemselvesinspacesof“non
comprehension”butfromthis“creoles”canemergethatliven
upthecreativeprocess.
Alsomoregeneraladviceaboutbusinessarrangements,
marketingorcrowdfundingcancirculateacrossinformal
conversations.AlexDarby,co-founderoftheArchCreatives
atLeamingtonSpaemphasisesthevalueofa“collaborative,
open,sharingandsupportive”modelhedubs“hippy
Hollywood”.
19
Becauseadaptationisvitalinthechanginglandscapeofthe
gamesbusiness,tinycompanieshavetobeespeciallygoodat
itandcommunitysupportiskeyforthem.
Whatshouldthecollectivesdotoorganisethismilieu?It’s
about what network member JonDoveycalls“curating
humans”.Easytosaybutlesseasytoachieve.Let’sstartwith
somematerialnecessitiesandworkupwards:
20
Cost of Deskspace
Flexiblecommitmentisthekeyqualityforenabling
independentandmicrogameteamstojoinaco-located
community.TheArchCreativesaresupportedbylocal
councilandhavethemeanstooffermaximumflexibility
toprospectivehubresidents:3hourshotdeskingforfree,
payasyougoforlongerstays,andadiscountforpaying
monthlyinadvance.TheBristolGamesHubhasnoongoing
externalsupportbutstilloffersveryflexiblerentalterms
toresidents,withmonthlyrentalsataflatfeeperdesk
(includeswifi,coffee,cleaning,everything).TheDutchGame
GardenisfundedbygrantsfromthelocalandnationalDutch
GovernmentsandfromtheEuropeanCommission.Itoffers
subsidisedspacerentalonanannualbasis.
21
Interruptability
ThisisanideatheBristolGamesHubborrowedfromthe
PervasiveMediaStudio in Bristol’s Watershed media arts
organisation(wheretheHub’sco-founders‘lived’fora
time).ResidentsworkattheHubontheunderstanding
thatit’sokayforthemtogoandasksomeoneelsetherea
questionorfindoutwhattheyareupto,andit’sokayfor
othersto‘interrupt’themaswell.Makingthisexplicitisa
wayofencouragingpeopletousetheirtimeintheshared
spaceproductivelyforboththeirownprojectsandthe
generalwellbeingofthecollective.Itisanexampleofaway
inwhichanethosoftheexchangeofideas,expertiseand
socialsupportforthecommongoodcanbeshapedbya
(semi)formalruleorguideline(moreon
guidelinesandcodesofpracticelater.
Inpracticeitseemstoworkprettywell
(at both the Bristol Games Hub and the
PervasiveMediaStudio)—peoplerespect
thelicenceitgivesthem(youdon’tsee
peoplewalkinguptoresidentsinthe
middleofaskypecallforexample)and
ofcourseyouareallowedtorenegotiate
theinterruptionifyouareinthemiddle
ofsomethingthatdemandsallyour
attention.
23
Support and Mentoring
Thebestfundedofourmaincasestudies,theDutchGame
Garden,hasamoreformal,fundedsupportandmentoring
process,withdedicatedstaffemployedtoarrangementor
relationshipsandprovidespecificsupportwhenneededby
residents.DevelopmentDirectorJPvanSeventerexplains
thattheGardenissetuptoprovide“intervention”inresident
projectswhentheteamasksforit,onaspectsrangingfrom
fundingsources,skillsandpersonnelrequirements,contract
negotiations,tomarketingandpromotion.Inadditionto
thistheDGGisabletoorganiseclasses,matchmakingand
promotionaleventsinitsspaceintheheartofUtrecht.For
exampletheyhavethesebrilliantdemoconsolesthatlook
likegamearcademachines:
24
BoththeArchCreativesandBristolGamesHubpeople
ontheprojectvisitedUtrechtandsawthetremendous
valueinbeingabletooffersuchsupportthroughdedicated
andexperiencedstaff.TheBGHresidentsthoughtagoto
persononprojectfundingpossibilitiesandtheinsandouts
ofapplyingtoagencieslikeresearchbodieswithcreative
economymoney,theBBCortheWellcomeTrustwouldbe
reallyvaluable.
Butthevolunteerenergyinawellsetuphubcanbearlotsof
fruitaswell.AttheBristolGamesHubaUnitydevelopers
group,amarketinggroup,aboardgamegroupandawomen
makersgroup,theHerGamescollective(aninitiative
launchedbytwoparticipantsintheXXGameJam)have
grownoutofthisenergy.
25
ThegamemakercollectivesCreativeTerritories
examinedcametogetherfromthebottom-upinone
wayoranother.Abigpartoftheiruniquecharacterand
potentialcomesfromthispeer-to-peercollaboration
amongstindies.Anygroupstartstoformstructures
androutinesofpracticeandaneverydaycultureover
time.Theseoftenstartoutasanautomaticcopyand
pasteofwaysofdoingthingsthatarefamiliartothem.
TheCreativeTerritoriesprojectspentafairamount
oftimeconsideringthepotentialoftheseindiehubs
tonudgeexistinggame-makingcultureinadifferent
direction.Likeeveryproductionculturethereare
thingsaboutthegameindustrythatcouldbeimproved.
Theelephantintheroomforgameproduction
while Creative Territories was running was the ugly
#gamergate“controversy”whichsawarepetitionand
intensificationofviciousandvexatiousanonymous
socialmediaharassment,dirtytricksandthelike
House Rules
26
directedchieflyagainstwomen(includingsomeof
our network) brave enough to say something about
thepositionofwomenasgamecharactersorasgame
producersinthemainstreamindustry.CeliaPearce saw
inthisasignthatthetransformationofgamemaking
andgameculturewerereallygettingtothenoisybut
nastymisogynisticminoritydesperatetoholdonto
somemaleadolescent“gamer”identity.JenJenson
readsitasacontinuationofaverylongtradition(all
thewaybacktoHomer’sOdyssey)ofapubliceffort
toexcludewomen’svoicesfromcontributingtopublic
discussionandpublicculture.Andmorerecentlyit
continuesthestridentandsystematiccampaignsto
maintainITanddigitalproductionspacesashomo-
socialandpatriarchalrefugefromatroublingworld
wherewomen’sknowledgeandopinionsmatter.
Todatetherehasbeenverylittlepubliccondemnation
ofthesepracticesfromseniorgamesindustry
representatives.Thistimid,calculatedorindifferent
reticencemakesthempartoftheproblem.Thereis
27
someindicationthatdevelopersatleastarefedup
withthetoxicelementsofgameculturejudgingby
thedebatesatthelastGameDevelopersConference
meetupin2015andtheIndependentGameDeveloper
Association’sproductionofanOnline Harassment
Resourceforaffecteddevs.
JenJensonarguesit’snotenoughtohopethiswillgo
awayintime,however,andthathiringawomanor
twowilldothetrick.Bothtop-downandbottom-up
dimensionshavetobeaddressed,fromgovernment
policyandresourcingdowntolocallevelinitiatives—
theproblemanditshistoryareasbigandasoldas
society.Butatthelevelofgamemakercommunitiesof
productionitisimportanttodowhatyoucantogrowa
differentpipelineofproductionofgamemakers.
Moreover,Jensonpointsoutthismakeshugeeconomic
senseaswellbecausedifferencedrivesinnovation,
somethingechoedbyUKIE’spresidentJoTwistinatalk
attheWestminsterMediaForumseminarontheUK
28
videogamesindustryinOctober2014.
OnethingtodoistohaveanInclusionpolicyoracode
ofconductthataddressesinclusion.BoththeArch
Creatives and the Bristol Games Hub are working on
thesewiththeirresidents.Thisisnotjustaboutwomen,
butaboutallkindsof“differentfolks”notseenin
numbersinthegamemakerspace—ethnicdifference,
disabilities,agecanallleadtoexclusionfromthe
industryasitistoooftenunderstoodandreplicated.
Apolicyoracodeisaboutprinciplesandabout
behaviours.Itisonlyasgoodasthepeoplewho
takeitseriously.Sosomethingsthatbelongin“the
doghouse”—likeimplicitlyexclusionarybehaviour
(sexistjokes,comments),abusivesocialmedia
messaging,discriminatorycommentsorgesturesin
thesharedspaceandsoforthshouldbesenttothe
sinbinbythecollective.Andplanningeventslikegame
jamsanddemonightsalsoneedtotakecarenotto
automaticallyimportelementsthatencouragemacho
29
behavioursormakeitimpossibleforpeoplewithcare
responsibilitiestoparticipate.Forexample,in2011
the XXGameJamputasidesomefundingtosupport
childcarecosts.Althoughnoneoftheparticipants
tookitupthisofferitveryclearlysignalledthatthe
organisershadreallyconsideredtheirdemographic
andthechallengestheymayfaceinparticipating
inintensivegamenetworkingactivitiessuchasthe
populargamejamformat.
30
The Wider CommunityGroupsalwayshaveporousborders.Allofourhubsspenda
gooddealoftimeonbuildingtrafficflowbetweenresidents
andindiegamemakerslivingandworkingaroundthem.They
arethefutureandformerresidents—andovertimethehub’s
communityofproductionisverymuchthecombinationof
co-locatedand“distant”members.Ofcoursedistanceisa
relativething,andanyindividualbringswiththemanetwork
ofcollaborators,friendsandmentors,someofwhommight
bealong,longawaygeographically.Butanyparticular
collectivecomingtogetherinaparticularplacewillhavea
tangleofrootsandbranchesinthegroundnearby.
Socialmediaaretheroyalroadtodayforgeneratingand
maintainingthistrafficflow.@ArchCreativeshas500+
followers.TheBristolGamesHubhasabout35residents,
550+onitsFacebookgroupand900+on@bristolgameshub.
Theyalsoemailoutamonthlynewslettertoaround440
subscribers.Besidessharinginformationandnewsabout
hubmembers,opportunitiesforfunding,trainingoractivities
goingonamongstthewidernetwork,theideaistobringnon-
31
residentsintothehubfromtimetotime.TheBGHholdsa
regular“Anti-social”meetupwhichcombinesapresentation
orgamedemo/testingwithsomesocialising.Sometimes
theypairthisupwiththeBristolVideoGamesSocialgroup,
anothercollectiveentityinthelocalareaenthusiasticabout
gamesplayingandmaking.Getting“newbies”tothehubfor
thefirsttimeiskeytomakingita“realplace”where“real
people”are.Itmakespotentialresidentsofmakerswhomight
have thought their way was destined to be a long and lonely
one.Itgrowsthesocialglueandenrichesthehub’sgenepool
fromthecommunityofpracticeinandaroundthehub.
In2014ArchCreativeshostedthefirstSonyPlayStation
OpenDayoutsideLondonprovidingaconduitforaround
twentyindiestudiosacrosstheMidlandstointerface
directlywithSony—somethingwhichisotherwisevery
difficultforthemtoarrange.TheDutchGameGardenand
theBristolGamesHubalsomaketheirspaceavailablefor
theboardgamemakercommunitiesthataredifferentbut
oftenhaveoverlapswithvideogamemakers.Otherfellow
travellerswholiveinyourneighbourhoodareanimportant
partoftheproductiveecosystemyouinhabit.Stefan
Werningshowedthatlocalsharingandfacetofaceexchange
remainimportantdimensionsofco-productioneveninthe
globalonlinedigitalera:
32
Despite digital communications and asset pipelines, geographical proximity still plays an important role (NordcliffeandRendance,2003)
33
BrianMcDonaldlookedatdifferentkindsofgameanddigital
makercollectivesinScotlandforCreativeTerritoriesand
analysedtheirdifferentarrangementsandmetabolisms(see
nextpage).
Fosteringexchangeandcollaborationisaconstitutive
featureofallofthese,andingamemakergroupsgamejams
and“hack”eventsareaprincipalactivitythatcharacterises
theindiegamemakerethos.
Aproperhistoryofgamejamsshouldbewrittensomeday,
butitisclearthat,likevideogamesthemselves,theycome
outofa“hacker”traditionofsoftwaremakerswhofound
waystobreakoutoftheirdayjobsworkingonresearch
projectsinthemilitary-industrialcomplexandexplore
otherpossibilitiesforcomputation.Itisalsocleartheyare
aboutcomingtogethertoworkonsomethingtogetherin
closequarters.Theyrepresentavitalculturalactivityfor
thecommunityofpracticethatsurroundsandseedsahub’s
communityofproduction.
35
Activities and EventsGameJams/Hackevents• GlobalGameJam
• YNotJam
• AbertayGamesLab-JumpJam
• JamToday
• CultureHackScotland
• OpenGlasgow
Competitions• Dare to be Digital
Tech&Training• IGDAScotland–RiftShare
• GlasgowSchoolofArt–MicrosoftPortingDays
36
Critical MassAllofourgamecollectivesalsohostseveralactivitiesfor
“bigger”organisationsthatareimportanttoindiegame
makers.Thisistheothermainkindofvalueaco-located
gamecollectiveoffers:thepowerupachievedbygrouping
togetherintoalargerentity.Acollectivecanbecomean
entitywithapropernamethatdemandstoberecognised.
Sinceitsformationin2014theArchCreatives in Leamington
SpahashostedsessionsbyUKIEaboutthechangesto
Taxationcreditsaffectinggamesproductionfundinginthe
UK,andCreative England/UKIEeventsaboutmarketingand
promotinggames.LikewisewiththeBristolGamesHub,who
alsohavehostedsessionsgivingcommunityaccesstosuch
organisations as UKIndies,SWmobile,andtheBristol Green
CapitalDigitalChallenge.
MostofthegamesmadebyteamsatArchCreativeshave
beenfundedbycompaniesthatareusingcurrentUK
governmentSeedEnterpriseInvestmentSchemeprovisions
tomakeinvestmentsintogames.Providingaccessto
investorsandbusinessdevelopmentforthissortofthingis
animportantpartoftheroleofhubs.AlexDarbysaysthis
canhaveaneffectwiderthantheimmediatelylocalleveltoo.
37
ThroughlinksbetweenArchCreativesdirectors,BAFTA and
UKIEothergameprojectscanreceivesupportforfunding
thatispartlyaresultofthiscriticalmasseffect.
TheDutchGameGardenhavethemostdevelopednetwork
ofaccesspointstouniversity,commercialandgovernment
developmentagenciesinterestedingameproducers.With
theirstaffsupporttheyareabletoco-organiseeventslike
the Summer Game Dev:
38
SummaryGamehubscanbring3mainbenefitstotheindiegame
makerswholiveinandaroundthem:
SharingExpertise:a“communityofproduction”can
formoutofacollectiveofpractitionerswhocan
exchangeandgrowknowledgetogetherfortheir
individualandmutualgrowth.
SpontaneousEncounters:Likediscoveringthebook
youreallyneedtoreadontheshelfnexttotheone
youwerelookingfor,newideas,newsolutions,new
collaborationsbecomepossible.
CriticalMass:accesstoagenciesandgroupswhoare
interested in what you do and have the means to do
somethingaboutit.
39
Grounding CreativityWe’vebeentalkingabouthowagamemakercollective
buildsasituatedcommunityofproductionoutofawider
communityofpracticethatconsistsofpeopleatadistance
fromgroundzero.Theresearchoncreative“precincts”,
“zones”,“clusters”,“corridors”andsoonisinterestedin
this“how?”questionanditwasabigpartofourCreative
Territoriesdiscussionsastheprecedingshows.More
recentlyNESTAhasbeenexamininghowcreativework
isdistributedacrossallkindsofbusinessesbeyondthose
identifiedasthe“creativeindustries”.Thisworkisimportant
formanyreasons,nottheleastofwhichisthatitindicates
thatequatingcreativeproductionwithtoonarrowafocuson
mediamaking,advertisingandsoftwaredesignbusinessesis
missingalotofcreativityoutthereintheeconomy(almost
halfaccordingtoNESTA’sdata analysis).
TheeconomicpointthatNESTAhasmadehasresonances
withacentralconcernofCreativeTerritories:thatcreative
worksuchasmakinggamesneedstobeunderstoodas
intrinsicallyculturalandsocialinbothoriginandmotivation,
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andthatthisunderstandingneedstoflowthroughtothe
analysisandshapingofcreativeproductionbypolicy,
resourcingandinfrastructureinvestment.Ifeconomic
analysiscanstarttorecognisecreativityasapan-industry
phenomenonthatplaysanimportantroleinallkindsof
enterprises,wewouldarguethatthisisbecausecreativityis
acollectivelyenabled,socialandculturalpowerorpotential.
Noeconomyexistswithoutculture,withoutsociety,
withouttheinterests,passions,hopesandbeliefsofpeople
thatemergeanddevelopinatwo-waydynamicbetween
individualandcollective.
Itisdifficulttounderstandordefinecreativityinany
practicalandmeaningfulwaywithoutnoticingitssocial
andculturalspecificity,anditsemergencefromahistory
ofitsentwinementineconomic,politicalandtechnological
dynamics.FortheCreativeTerritoriesprojectthismeans
thatanyefforttogrowasustainablecommunityofcreative
makershastotouchbasewiththisinterconnectedness.
Anditalsohastoincludetheneighbours.Nowthisistricky,
partlybecauseeconomyandcreativityhavetendedtobe
joinedupinthinkinginfluencedbyideaslikeRichardFlorida’s
“creativeclass”whichinmanywaysistheoppositeofthis
ideaofcreativity.ForFloridaitisallabouthowtoattracta
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specialgroupoftalentedindividualstocometogetherand
boosteconomicactivityinthenewpost-industrialerawhere
ideasandexperiencesarethenewvaluablecommodities.
Thisbecameaninfluentialstrategyforurbanregeneration
policyinthenoughtiesrolloutof“creativeindustry”
initiatives.
Ifcreativitygrowsoutofasocialandculturalmatrixthis
meansithasaquitespecifichistoryandmakeup.Andthe
majorproblemwithitsrecenthistoryisthewaycreativity
hastendedtofloatfreeofitssituatednessingeneral
parlanceandineconomicandurbandesignbuzzlike
Florida’s.PhilosopherandmediaactivistBernard Stiegler
arguesthatdigitalcreativityhastogetbackintouchwith
thishistoryandgetitsfeetontheground.Toomuchtalkof
immaterialproducts,virtualcommunitiesandfree-floating
creativemindslivingin“thecloud”.Ofcoursethistalk
reflectstheeconomictrendstowarddispersedglobalised
manufacturingofcommoditiesandtheopeningupof
huge global markets by international media and marketing
strategies.
Thewaydigitaldevicesandcommunicationslinkupdistant
peopleandmarketsiscertainlyimportant,andevenvital
forcreativityintheemergingdigitalage.Bigmainstream
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developersandpublishershavebeenspreadingtheir
productionpipelinesallovertheplace,andtherearesome
indiegameventures(suchasSpryFox) that are more or less
completelydistributed,virtualentities.Butoftenthelocal
and regional territories inhabited by digital making have
tendedtobeoverlookedaseyeshaverefocussedontheprize
ofnationaleconomicperformanceinaglobalisedindustry.
The“economy”isnothingifnotglobaltodayinitsindustrial,
resourcinganddistributiondimensions,buttheglobal
economyisnothingonitsown—because(torepeat)economy
isnothingonitsown.Theglobalisationofproductionbybig
businessisoneofthebiggestfactorsaffectingthehealthand
sustainabilityoflocaleconomiesandlocalcultures,andthis
iswhyCreativeTerritoriesemphasizestheneedtoembed
thecreativemakerslocallyaskeytothesustainabilityofthe
collective.
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Creative RelationsSoinpracticaltermswhatisincludedinthissocialand
culturaldimensionofcreativity?Individualsandcollectives.
Everyindividualwhoseworkproducessomethingwe
wouldcallcreativedoessomethingspecificwithexisting
practices,tools,andunderstandingsofmakingthatare
collectivelysharedandtransmitted.Theunique,thespecial
isalwaysaRE-productioninthissense.Theothersideof
thiscreativerelationisthatthoseexistingpractices,tools
andunderstandingsevolveintimepreciselybecauseofthe
moreinfluentialthingsindividualsdointheircreativeRE-
producing.Andsothedynamicgoes.
Howandwhereareexistingpractices,toolsand
understandings?
In Local Government
Thesebodiesareusedtodealingwithofficialtype
organisationsandCreativeTerritoriesfounditwasastruggle
(butnotimpossible)togetthemtoourmeetings.Allofour
hubshaverelationswithlocalgovernmentandtheDutch
GameGardenandtheArchCreativesaresupportedin
differentwaysbythem.Becausethethinkinghereisoften
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economicandnotreallyculturalandsocial,however,the
localauthoritiesarenotseeingthecommunitydimensions
offosteringsustainablelocalbusinesses.CreativeTerritories
believesthatthesustainabilityinthelongtermofthose
localbusinessesisdependentontheirbecomingpartoftheir
communities,andlocalgovernmentcouldandshouldbea
valuablepartnerinfosteringthosesustainableroots.
In Educational Institutions
Mostgamemakershavebeentrainedatuniversityincoding,
graphics,sound,business,andsoon.Buttheyhavealso
gonetoschool.Thisisoneareathathasreceivedincreasing
attentionincreativeeconomythinkinglately,suchasin
theinfluentialBrightonFusereportwhichisabouthow
tertiaryeducationneedsanoverhaultogrowcreativework
in NESTA Next Genpropositionsconcerningtheneedto
reshapeschoolcurriculatoimproveITskillsdevelopment
andgetcodingbackonthecurriculum
andinUKIE’spiloteffortstostrengthenlinksbetween
computerandcreativepartsoftheeducationprovisionin
theUK(seeUKIE’sDigitalSchoolhousecampaign).
47
Thisisallgood(ormostly;atleast,itisthetopic
foranotherday).The Good Hubbing Guide’sfocusis
ongamemakercollectivesthataredifferentboth
toschoolsandtotheusualincubatorsandhotdeskingspaces.
Consequentlytheyhaveadifferentpotentialthanwhatis
envisagedinthesereportsandprojects.
Tomas RawlingsfromtheBristolGamesHubrecounts
thatsinceappearingonthelocalradartheBGHhashada
steadystreamofrequestsfromlocalschoolsforstudent
placements,andforHubresidentvisits,lessonsanddemos
atschools.Toomanytorespondtoallofthem,infact,and
placementsareusuallytootimeandenergyconsumingfor
thesmallerfirmsandforthevolunteermanagementteam
totakeon.Ithascausedthemtothinkcollectivelyabout
formulatinganeducationpolicyfortheHubbecauseasa
grouptheycareabouttheeducationofkidsandabouthow
itrelatestotheirindustry.
Thisisaverypracticalanddirectinstanceofthechallenge
andthepotentialofengagingwiththelocal,cultural
dimensionofyourcreativeendeavour.Whatcanacollective
ofindiegamemakerscontributetotheeducationofthenext
generation?Whatcantheyshareoftheirownexperiences
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andpassionfordigitalcreativity?Whatcantheylearn
frominteractionwithkids,andwiththeevolvingcurricula,
pedagogyandschoolcommunities?Howcanthiswork
effectively,includingfinancially,forbusygamemakers?
CreativeTerritoriesdoesn’thaveanyspecificanswersor
recommendationstoofferatthisstage(weareworking
onit),butwebelievethatthisisnotaperipheralconcern
ifyouarethinkingabouthowbesttoplanorsupportthe
developmentofviableandvaluablegamemakercollectives.
Creativemakersrepresentanimportantpotentialforthe
digitalculturalandeconomicfutureandputtingthemin
touchwiththenextgenthrougheducationalcontextsisa
fundamentalsteptotaketogrowthispotential.
In Local Community Networks and Organisations
Localityisthesocialversionofbeingathome:almost
invisiblyitprovidesawholetoolkitwithwhichtoorganise
youreverydayactivityandnavigateintheworld(seeShaun
Moores’lovelytalkfromtheConditionsofMediation
eventthattalksaboutthis).Localgroupsareimportant
manifestationsofthistoolkitandofferasetof“opposite
numbers”forourlocalisedgamemakergroups.TheBristol
GamesHubissituatedintheStokesCroftareaofBristol,
aformerlyrundownareaclosetothecitycentrethatis
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experiencingsomethingofarevivalthatwouldbefamiliar
toothercitiesaroundthepost-industrialworld.TheArch
CreativeshasasimilarlocationinLeamingtonSpa.TheHub
has working relations with the Hamilton House organisation
acrosstheroadwhichcomprisesarangeoflocalcommunity
groupsandhousesahostofactivitiesandservicesdelivered
peertopeer.
AtourfirstCreativeTerritoriesmeetinginBristolatthe
BristolGamesHubweheardfromChrisfromthePeople’s
RepublicofStokesCroft,awellknownandinfluentiallocal
collectivethathasbeenworkinghardintheStokesCroft
areaformanyyearstoimprovethelifeofitsresidents
throughcommunityartandcraftproductions,reviving
neglectedpublicspaces,supportingresidentactivismand
negotiatingwithlocalauthoritiesonarangeofissues.Chris
was interested in the way that game makers are building little
virtualworldsandhowthismightspeaktotherealworld
andtherealterritoryofStokesCroft.ThePRSCbelievein
theneedforlocalengagementinredevelopmentandlocal
propertyownershiptosupportandsustainlocalgrowth
andcommunityregenerationbeyondtheclassicproperty
speculationandexploitationofgentrifyingneighbourhoods.
Dialoguesliketheseareimportantbecausethe“creative
economy”and“creativeclass”ideastendtoskipoverthe
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localdimension(andthelocalinhabitants),andthegame
makerswehavehadinournetworkdofeelpartofandcare
aboutwheretheyliveandwork.
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NeighbourhubAttheUtrechtmeetupofCreativeTerritoriesHelen
Kennedy and Debbie Rawlingsputthequestiontoworkshop
participantsofhowtobuildagamehubeffectivelyinalocal
area.Theparticipantsproducedthisbrilliantpresentation:
Building the Neighbourhub.Intermsofpracticaladvice,the
grouprecommendedakindof“designcycle”forplanning,
openingahub,thencontactingandconsultingwithlocal
groups,whichthenfedanewcycleofplanningandmodifying
thehub’soperations.Theyalsohadsomeideasforthehub’s
day-to-dayrunningincluding:
Havingsomestudyspace
Anopendoor/accesspolicy(fore.g.onceaweek)
Promotingsocialinclusionthrough“interconnections”
withotherkindsoflocalgroupsthroughevents.
Someoftheseideasarealreadyinpracticeatvariouskindsof
digitalcreativecollectives–Bristol’sPervasiveMediaStudio
hasaweeklyopenafternoononFridaysthatiskickedoffby
theregularFridayLunchtimetalkopentoall.
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Stagingeventsaimedatthelocalcommunityorthatinvite
theminarealsovaluable.TheArchCreativesranaGame-
a-thonintheirLeamingtonSpahometosupportthegamer
charitySpecialEffect’sworkondisability.
Finally,someofthenewtoolsformakinggameslikeTwine
or PuzzleScriptalsomaketheinclusionofnongametech-
trainedpeopleingamemakingeventspossibleandthere
arepossibilitieshereforcommunityengagement.These
don’tteachanycoding,buttheyaregoodatgeneratinggame
designideasandopeningupdialoguesaboutwhatgamesare
andcando.Andwhotheycanbefor—asdeveloper/academic
BrianMcDonaldsaidweshouldbemakinggamesforpeople
likehismumbecausesheisinademographicthathasthe
timetoplaythem.
Boris Ruiz Palma@Bobert87
#ssgp14Self-Management,Transparency,Citizenship,Tolerance&Respect,Visibility.Elementsof“TheNeighbourhub”.
2 retweets 1 favorite
1:41 PM - 21 Aug 2014
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Ofcourseallofthistakestimeandenergytoorganise.Ifyou
areapeertopeercommunityofdevelopersbusybuilding
yourlivelihoodsyoumightnothavetheexcessvolunteer
capacitytoreachouttoyournongamersurroundings
asoftenasyoumightlike.Thisisanimportantthingto
acknowledge,butitisalsothechallengeofopeningupa
specialistcommunityinalocalonefilledwithdifferentand
diversepeopleandinterests.Ultimatelyeverygroupand
communitylivesordiesonhowwellitmaintainsthattraffic
acrossitsborders,toreplacegroupmembersastheymove
on,toadapttonewcircumstancesandtoevolveand“stay
alive”.AsHelenKennedyputit“Likelikeslike”andwhilethis
helpstopreserveagroup’sidentityovertime,itcanalso
stifleandsuffocateacommunityifitisnotencounteringthe
unlikeandplayingsomenewgameswiththem.
Helen Kennedy@ludologista
bridgingthegulftoencourageparticipationfromthosethatareunlikeus-cozlikelikeslike..@Ludic_Junk#creativeterritoriesHARD
3 retweets 1 favorite
4:37 PM - 10 Nov 2014
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Alongwiththedigitalcreativeeconomyingeneral,it
isimportanttoapproachthecreativityofindiegame
makingasaculturalandsocialprocessasmuchasan
economiconebasedonindividualtalent.Forindie
gamecollectivesthismeansthelocalneighbourhoodis
notjustawhereverlocationwhereyoucanpluginyour
kitandconnecttothecloud.Agoodgamehubwilllook
tobuildtieswith:
Educationalinstitutionsintheirlocality:workingout
waystosharesomeexperienceofgamemakingwith
thenextgen,andtogetsomethingfromthestudents
andtheschoolsinreturn.
Communityandsocialgroups:Events,opendaysand
negotiatedaccess,contributionstolocallyorganised
activities.Thisisaboutbecomingknownandvaluedlocally,
andembeddingthecommunityofproductioninasocially
diverseecologythatisgoodforitslongertermsurvival.
Summary
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Localgovernment:Thesearerepresentativesof
thelocalpeople;hubsshouldexploreproductive
relationshipswiththecommunitysupportaswellas
economicdivisionsoflocalgovernments.
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TheBristolGamesHubhaditsfirstbirthdayaboutthe
timeofourNovember2014workshop.Co-founderTomas
RawlingsreportedontheHub’sfirstyearandadvisedthat
theHubhadgrownininterestingandnotalwaysexpected
ways.Theanniversarybecameanopportunitytoponderthe
question:whatarewe?
Thisisgood.Groupsgrowandchangeandsoreflection
aboutpurpose,identityandprioritiesisanessentialpartof
theirlongertermviability.Thethreegamemakercollectives
thatwereparticipantsintheCreativeTerritoriesproject
areall“live”experimentsatdifferentstagesandindifferent
localandculturalcontexts.TheArchCreativesaretallying
upreleasesfromhubresidentsandaregettinginvolvedin
activitieswithboththegamecommunityofpracticeandthe
widercommunityaroundLeamingtonSpa.TheDutchGame
Gardenareonthemovetoanewvenueopeningupnew
possibilitiesforactivitiestosupporttheirresidentstartups.
TheCreativeTerritoriesresearchnetworktriedto
identifyhowthesehubsworkasnewkindsofgamemaker
collaborationinthe“sceneofinnovation”representedbythe
riseofindiegamesoverthelastfewyears.Ourgoalwasto
identifythemostvaluableandproductivewaystheyhaveor
couldco-locateforthelongertermbenefitoftheindiegame
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sectoraswellasforthewiderculturesandcommunities
theyarepartof.Gamesarealreadyabigpartofoureveryday
livesandindiegameproductionhasanimportantparttoplay
economicallyandsociallyinourdigitalfuture.Establishing
creativeterritoriesofgamemakingwouldbeplayingthat
partwellandforthelongrun.
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