Game Jamming Depression: Making sense of mental health through play

“What if we put those shitty motivational cat pictures on the back that say “hang in there” and “grab your dreams”” one of the students prompts me – I find it impossible to stifle a laugh and as a group we decide to oblige the request. Such is the way of a game jam – a cavalcade of bonkers ideas that might just work and a pressing deadline that often means the craziest idea that makes you all laugh is the one you end up forced to go ahead with. Game Jams have been a tool for innovation in industries for years, but their application in education stretches beyond the conventional and can help tackle wider social issues many of us struggle to talk about.

A number of students I work with have spoken to me about having issues with their mental health – whether it be family related, causing lateness, or a difficult period in their lives. The subject of mental health among young people has become a prescient one over recent years – and the issue of broaching it complicated (and something I was not entirely prepared for) . Young people must now contend with incredibly complex and immediate crises, and the accessibility of information and political mobilisation of our young people over issues like climate change has understandably nurtured a sense of hopelessness, fear, and anxiety.

As adults we are still navigating these deeply-rooted issues in our society, and with failing mental health provision in our country it has become more difficult than ever to seek help in a time of national unrest and uncertainty. With so many issues surrounding mental health among adults still unsolved, how can we empower our young people to turn anxiety and unhappiness into the power to change, and tackle these issues with an openness that our generation has only begun to realise?

Videogames have always been a great way of helping me make sense of the world and their cooperative and collaborative nature has on more than one occasion helped me through a difficult time. Similarly to this, I have always championed Game Jams as the ready-made platform for problem solving – whether you’re a game designer, entrepreneur, chef, or teacher, the game jam format celebrates creative thinking and ideation in a way that is often reckless fun and surprisingly helpful. Games and education have had a tumultuous relationship at best, and the present mainstream narrative would suggest that games do more to harm children than help them. Game Jams are a wonderful resource for challenging this stigma and showcasing some of the more productive elements of games and games design.

Prototyping solutions to tough questions can be an invaluable resource – especially if you have fun whilst doing it. If we can problem solve creative solutions to difficult game elements or work practices through a game jam – why can’t we game jam mental health?

When talking to a friend about how they feel, mental health advocates Time to Change recommend sitting side-by-side as opposed to opposite, or engaging in a fun activity together. These elements are often inherent in games and utilising them to help nurture discourse, improve emotional literacy, and provide a friend with comfort, can be hugely powerful. So with a short brief written with the aid of mental health and gaming gurus Gaming the Mind, eight boxes full of random resources, and three hours – I asked the students to “create a game that can be played in five minutes and could help a friend during a difficult time”. Here’s some of the games they came up with:

One. Word. Depression. is a game in which players take turns to create a sentence one word at a time, starting with “Today. I. Felt.”. This would lead to fantastically long-winded sentences about the anxiety of leaving inappropriate images open on the computer – but the notion of exploring feelings through words never left the heart of the game. When someone wants to explain to a friend how they’re feeling, maybe it helps just to say the word out loud, even if it is followed by profanity.

Let Them Out is a charades-style drawing game that pits players against each other to draw the best monster, with each monster corresponding to an emotion chosen from a deck of cards. One player places this card on their head and must closely examine the drawings of all other players to find the emotion hidden within the toothless grins and bulging eyes of the quickly-drawn creatures. The drawing with the best representation wins the card, appropriately backed with a cute cat picture and a motivational quote. Again, this was a great tool for improving emotional literacy – many students were at first unaware that the words written down were feelings at all. Also, the cathartic nature of drawing creepy monsters cannot go unmentioned.

These creative solutions are not only great tools for discussing your mental health with a friend – but the process of ideation and creation meant that the students were discovering a wider vocabulary and building a safe, inviting environment to question what makes them feel good, and how they would express when they don’t. Having played these games myself they are also a lot of fun, and a far cry from the stagnant image of the “educational game” we have come to think of. Far from it, they are innovative and creativity-driven solutions by a group of young people who are contending with issues I have yet to find a way to truly contend with – and all this with a brash openness that says yes to talking about how you feel, yes to help from a friend, and yes to shitty motivational cat pictures.

Video Game Takeaway Podcast Episode 2 – Something Old, New, Borrowed, Blue

In episode two of the (now titled) Video Game Takeaway Podcast we talk about the video games we’ve been playing over the last few weeks, all in the format of traditional wedding gifts – something old, something new, something borrowed, and something blue. We don’t know what games the other has played and there is certainly a mixed bag of results so whether you’re chilling, running, working or walking, come join us for an hour or so of conversation on all things video games.

Videogames at the V&A Dundee – A Breath of Fresh Air for Games on the Coast of Scotland

An exhibition to celebrate the rich cultural history of videogames in the city of Dundee has been a long time coming. it has been a major UK hub for video game development for nearly twenty years, and shows no sign of stopping anytime soon. The Dundee-grown Grand Theft Auto series is arguably Scotland’s biggest cultural export so it seems only natural that there be some investment into championing this art form and the city that helped pioneer it in its current form. The city is in the midst of a major redevelopment project that has seen a huge investment in the cultural arts – namely in the breathtaking Kengo Kuma designed V&A Museum on Dundee’s renovated waterfront. The building – which has been open since September 2018 – now houses the Design/Play/Disrupt videogame exhibit, an exhibition that in the most part is an exciting, insightful and sorely needed examination of the painstaking design process of contemporary video games and their place in the world today.

The exhibition, which is in the ticketed area of the building (£12 for adults and £10 for concessions), first takes patrons on a tour of several major video game productions developmental journey – using audiovisual aids as well as traditional museum displays to map the journey from concept to creation for studios of varying size and scope. Dog-eared notebooks adorned with scrawlings of Lovecraftian creatures from Bloodborne accompanied by the sheet music from the game’s orchestral score are as at home in glass cases as early sketches by Lovecraft himself. An illuminated corkboard filled with innumerable post-it notes and a coffee-stained manuscript detailing the plot of The Last of Us are contextualised with analysis of the AI used to make Ellie feel as alive in-game as she does on paper. A testament to the collaborative process of video game story crafting and world-building that would not feel out of place next to the deconstruction of any autuer’s filmmaking process. A series of projectors display over 50 different planets from No Mans Sky simultaneously, with the books, toys and worlds that inspired the aesthetics of Hellogames’ universe on full display – the vibrancy of the colour pallettes and composition of the pieces that spoke to the game’s creators configured like the effects of a passed science fiction author. If you know anybody who still believes that video games are not an art form, take them here – if that doesn’t change their mind there’s a steep ledge over the sea at the outside of the exhibit that may instead.

No Man’s Collage

The exhibit has a further three rooms, all with a different taste of what makes games great. Focusing on sociopolitical issues in video games and the industry as a whole – including how we can change the industry for the better through accessibility and representation, and where developers are breaking the mould in the way their games engage with deeply rooted societal issues with often innovative, humorous and subversive ways is the focus of the muesum’s second room. This is an often overlooked aspect of video game criticism and something that I feel is a welcomed inclusion for both fans of games as well as other museum-goers. Many AAA publishers are afraid to talk politics in their games and I think that the way this exhibit situates games as both agent of criticism as well as subject of criticism regarding sociopolitical issues is a breath of fresh air in the sphere and an important perspective going forward in the industry.

A third room acts as a cinema strewn with big beanbags for patrons to sit on whilst a series of short films play detailing the vast online arm of gaming. This includes competitive play in Overwatch, vast expansive role-playing in EVE: Online and videogame fandom; whether it be a D-Va makeup tutorial or an IKEA built in Minecraft. In an exhibit that specifically highlights collaboration, competitiveness and group play it felt like there were some interactivity elements missing here. Opportunities for big-screen gaming and to engage with concepts of interactivity on a larger scale are few and far between, and it felt like this cinema-esque museum exhibit was the perfect environment for this. Most people wandered through this section quite quickly – it would have been interesting to see something that got non-gamers riled up and competitive in the same way those they just watched on screen might have. This is an apsect of gaming still in its infancy and expected to grow massively in years to come – competitive gaming and video game fandom on this scale is still an abstract concept to many and some demystifying here through play would have neen a fantastic opportunity to show parents why their daughter screams in delight when they win a game of Fortnite or why their son likes to dress up like a Creeper from Minecraft.

Although the cinema room does not necessarily give patrons the opportunity to nurture their competitive streak – the final room is filled with several lo-fi and independent game projects dubbed as the “punk” of gaming. Handmade arcade machines with endearing indie titles and super lofi experimental rigs show patrons those on the fringes of game development – away from the scope of AAA and the polish of the video game baftas – these guys are the ones having real fun with innovative passion projects. A collaboration with Edinburgh-based We Throw Switches brings some better-known titles from their annual beers and games GAMESAREFOREVERYONE nights at The Caves in Edinburgh, as well as a number of cabinets brought over from the previous Design/Play/Disrupt in London. This gives everyone a chance to have some fun mashing some buttons and flciking some joysticks on makeshift arcade machines. The set-up is great here and brings the conceptual foresight of the previous three rooms to a satisfying closure with the final finished project – some in-depth and political, some engaging and innovative, others just colourful and fun – all avenues of game development at the grassroots level are on show here. Although these games are fun and unlike anything most will have played, there isn’t much for children here and many of the games aren’t particularly accessible to non-gamers – it would have been nice to see something that took that first step in making games accessible to audiences with a newfound perspective on gaming.

For those with a keen passion for games looking for insight and further knowledge of a medium they love – there’s plenty on offer here and exhibits you wont see anywhere else. For those who haven’t played or dont know about videogames but have an open mind, there is even more to see – with articles that permeate to the mainstream of 100 hour crunch weeks, games causing violence and Fortnite addiction rehab centres, this is a welcomed celebration of an art form filled with hardworking and passionate developers inspiring millions of fans all over the world. It is a shame that homegrown Scottish talent was not on display in the exhibition perhaps as much as it could have been focusing more on developments across the pond. Also, there were some glaring holes of opportunity for interactivity – the shining star that makes video games the unique artistic medium that it is – where gamers and non-gamers alike could collaborate and compete. However, this is a thoughtful exhibition that will have people paying a lot more attention to video games once they leave through the doors of the V&A. When Grand Theft Auto III released, a small homegrown Scottish developer gave rise to a global phenomenon and changed the vidoegame landscape forever. This exhibition takes a massive step forward in empowering and inspring the next generation of developers to continue to make the tiny city of Dundee a big name in videogames.