The Good Hubbing Guide

Building Indie Game Maker Collectives

Patrick Crogan

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

Introduction

1

3

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

In-house

2

17

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

22

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

34

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

Front of House

3

40

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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45

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).

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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

53

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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Conclusion4

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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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Creative Territories is funded by

Creative Territories is a collaboration between