The Impact of Game Development on Theatre and Exhibition Spaces

The Playable Futures series explores how video game design, technology, and theory are shaping the world beyond the gaming industry. In recent years, the boundaries between physical and digital reality have become increasingly blurred, with games like Pokemon Go achieving mainstream success by combining both worlds. This convergence is also evident in public spaces, such as theatres, galleries, and museums, where game-inspired conventions are being used to create new and innovative experiences. Felix Barrett, artistic director of Punchdrunk, a renowned immersive theatre company, notes that the intersection of games and theatre was not initially intentional. However, after their production Sleep No More was described as the "game of the year" by a journalist, they began to see the similarities between their work and video games. Barrett now deliberately incorporates game design elements into their productions, creating a new form of entertainment that combines immersive theatre with video game mechanics. Immersive theatre allows audiences to interact with the performance, exploring environmental storytelling and influencing the narrative journey. This interactivity draws parallels with video games, where players engage with virtual worlds and make choices that impact the game. Punchdrunk's recent work, such as The Burnt City, features a neon-drenched metropolis with over 100 rooms, allowing audiences to explore and discover narrative beats in a non-linear fashion. Marie Foulston, creative director of Good Afternoon, has also explored the intersection of games and public spaces. She initially worked in film distribution but was drawn to the game industry's creative freedom and experimentation. Foulston established The Wild Rumpus, a collective that curated and produced indie game events, and later worked on the V&A museum's gaming exhibition Design/Play/Disrupt. The exhibition's design was informed by video game principles, using lighting, highlighting, and fabric scrims to create an immersive experience that guided visitors through the space while giving them autonomy to explore. The connection between game design and exhibition curation is becoming increasingly evident. Foulston notes that exhibition design is similar to level design in games, as both involve creating a space that visitors can navigate and explore. The use of game-inspired elements, such as interactive objects and environmental storytelling, can enhance the visitor experience and create a more engaging and immersive environment. Punchdrunk is currently developing a live-action game engine called PLAGE, which allows audience members to receive missions and information on their phones as they navigate through designed theatre spaces. This technology has the potential to revolutionize the way we experience theatre, making every audience member feel like a hero and a character in the world. The intersection of game design, theatre production, and exhibition curation is a rapidly evolving field, and it will be exciting to see how these industries continue to inform and influence each other in the future.