Earlier this month I took a one-day design masterclass with Punchdrunk, the immersive theatre company. I’ve previously written about seeing their work Sleep No More and Against Captain’s Orders. Their work has been a design inspiration especially for thinking about narratives where the characters are all in motion and the player is choosing which to track.
Going into this session, I was curious whether I’d learn methods of environmental storytelling that would cross over into game applications. I was also curious how they approach developing a physical space around a story concept, and what questions they ask in order to develop the character.
If you’re considering signing up for a class — I think they’re on hiatus now, but the opportunity might reopen in the future — I’ll cut to the chase and say that it was a fascinating, fun day and totally worth doing; that I enjoyed the activities and instruction and had a great time meeting the mix of other practitioners in the same space, who included museum curators, drama instructors and students, other game designers, and a few “I just love Punchdrunk and was curious” types.
At the same time, I should acknowledge the news about the harassment of actors at Sleep No More productions. This didn’t come up in the course of the workshop, and I had scheduled mine before that news item broke, but I mention it in case that information affects your desire to engage with the company’s work.
The rest of this article will be talking specifically about what we learned in the context of video game design and story-telling — some items that I found expectedly or unexpectedly useful, and also some places where I’m not sure the inspiration would successfully cross over.