Kill Your Speed: Urban Snail Racing from 1979 to the Present Day

This has now finished so, if you didn’t take part this time round, bad luck! Hopefully it will have some kind of future life though.  I’ll post up on here about anything that’s planned.

For posterity’s sake though, I’ll just describe the project as it was presented at Theatre Delicatessen last week.  It was an exhibition that chronicled the sights, sounds and smells of Urban Snail Racing…basically through photography and a hand out, which gave some background info.  People could come in at any time and check out the space, there was music and the lights were up so it was quite bright.  The bookie (Lucy Wray) was taking bets on the next race.  We did one race an hour and Lucy McCormick (from Getinthebackofthevan) provided the commentary as well as a quick briefing to the players.  We ended up only running 6 snails per race and limited it, on most nights, to three races per night.  This meant that demand outstripped the (teeny, weeny) supply. Still, a good position to be in and we managed to squeeze a few more people in as audience. 

Feedback has been really positive and I was proud of what we made. Although it was my conception, there were really important contributions throughout the process mostly from Lucy McCormick (without whom it would have been a totally different and much less interesting piece) but also from Kieran Lucas (who did sound and was generally an all round legend), Lucy Wray, Michelle McMahon (who took over as commentator on the Friday) and Ellie Robinson.  Also the hugely talented Ish Sahotay helped a lot with the curation of the exhibition.

New project at Theatre Delicatessen

I’m working on a new piece of gaming theatre (or gambling theatre in this case) for Spaced 2014, a new Theatre Souk event at Theatre Delicatessen, which has an extraordinary temporary home in the former BBC building on Marylebone High Street.  You can buy tickets from the link below.

http://www.theatredelicatessen.com/spaced2014/

The work’s in development right now.  Further exciting details to follow…

Circle Rules Football. Interview with Greg, its creator, below. 

Circles Rule: an interview with Greg Manley

So I haven’t been much good at updating this recently. I’ve been busy writing stuff elsewhere and making stuff too. More on the latter shortly but, before I get on to that, I wanted to post up an interview I did with Greg Manley, the creator of Circle Rules Football and the Commissioner of the Circle Rules Federation. If you don’t know what Circle Rules is, I’m posting a video above. Basically there’s a circular pitch, a massive ball (the size of a yoga ball but lighter), two teams and the goal is in the middle of a circle at the centre of the pitch.  You can use any part of your body to touch the ball but you can’t hold on to you. Complete rules are here.  It’s one of the most successful new sport in terms of numbers of active players and it’s also one of the most theatrical and playful. Fire Hazard sometimes run Circle Rules sessions in London and you’ll see it cropping up at a lot of various games festivals. I highly recommend giving it a try. There’s even a “gamefinder” here. This is what Greg had to say just before going off on tour with Warhorse (!).

WD: When you first made Circle Rules, it was a university project in an experimental theatre department, is that right?

GM: Yes.  The Experimental Theater Wing of New York University’s undergraduate drama department encourages its senior students to do what’s called an “independent project”  Typically these are original one-act plays.  Deciding that a sport is just as much theater as any play, I made an original sport instead.  And I got an A grade.

WD: How important was the performative element from the start?

GM: Performance is the whole thesis of the thing!  Any football match is a two hour long performance that needs to be costumed, scripted, and rehearsed like any other play.  Once you start thinking of the rulebook as the script, and the team managers as the directors, all sorts of similarity pop up. The less philisophical answer is that I love all the absurd characters players assume when they compete.  I wanted to build a structure (the game) where players could feel that superhuman feeling.

WD: Were you thinking of it more as an experience for the player or a spectacle to be observed in the way theatre usually is?

GM: I developed it with two original aesthetic elements: the big ball and the circular field with a central goal. After that, I focused entirely on developing a well balanced game for the player.  If I’d built it with the spectator in mind first, the game wouldn’t stand the test of competition and it could only go so far.  This way, I can walk away from the game for a while (as I have done this past year) and rest assured that the game is good and people will play whether they have spectators or not.   

WD: What do you feel is missing from other sports and sports culture that a new sport like Circle Rules provides?

GM: I think sports culture is awfully narrow minded.  Many teenage athletes don’t realize how much they have in common with young artists.  Sports and artwork require exceptional creativity, and I hope building a new sports culture offers an opportunity for surprising collaborations.  I get so excited when the Olympics come around.  They are such an ideal combination of the best artists and architects in the world collaborating with the best athletes in the world.  Hopefully, with Circle Rules and similar new sports, we won’t have to wait two years for that spirit to come around again.

WD: How important is competition for you in Circle Rules?

GM: Competition is the test for the legitimacy of the game.  If the rules can sustain all the wild emotional and physical outbursts of a talented competitive athlete, the game is airtight.  I don’t always enjoy playing competitively, but I feel very strongly that the game needs to support all levels of competition.  Some detractors may feel that extreme competition discourages cooperation and respect.  I think teaching somebody healthy competition relies heavily on cooperation with your team and respect for your opponent and the game.

WD: Because the game references existing sports (e.g. soccer, basketball, handball) but with an extreme difference in the scale of the ball, do you feel that there’s a level of irony or satire in that referencing but also distancing mechanism?

GM: I’ll admit the game looks silly or at least irreverent.  (Our irreverence is intentional; it clears the way for a new sports culture).  But I’ve tried to keep irony out of the game as much as possible. The only exception to that is when we sing the national anthem at the beginning of our games.  (we measure our equipment with the metric system, so we can’t be that patirotic).  But honestly, other than the national anthem, there is no irony in circle rules football.  Being truthfully convicted to winning keeps many of our players coming back.   

WD: Do ever think that players are playing sports ironically (though perhaps not playing Circle Rules ironically, if that makes sense)?

GM: Maybe some people join social Dodgeball leagues or Kickball leagues to play ironically, but I think many of the players quickly realize that it’s more fun to care genuinely.  I can’t speak to other people’s intentions, but I can imagine myself joining a kickball league because “hey this is something I did in elementary school.  Wouldn’t it be silly if I joined a league again and went out to a bar with friends afterwards”.  There’s some irony in that.  But mostly, it’s about feeling like a kid again.

WD: As the game gets more successful and some players get better and better at it, do you think there is a danger that this puts barriers to entry and makes the game less accessible to everyone?  Or do you think that is something that will self-regulate as people divide themselves up according to abilities?

GM: This has already happened with circle rules football in New York City.  Our casual Sunday pickup games have lost a lot of their energy to the NYC league.  The league is very competitive, and therefore more dangerous than the casual games.  In trying to focus our efforts on developing the league, we may have lost our primary means of recruiting…  So we’re recalibrating.  A couple years ago, I asked a group of team managers and devoted players “As circle rules moves forward in NYC, we need to ask ourselves a question for the sake of the game’s spirit:  Are we Wednesday night (the league night), or are we Sunday afternoon (the casual pickup games).  What I didn’t realize at the time is we need to be both.

WD: What’s next for Circle Rules as a sport?

GM: So we are thinking about where to make the next push for the sport.  The league in New York is barely sustaining itself with the volunteering of its players, but it is not growing quickly enough.  It isn’t making any money, so there’s no extra capital for outreach.  We’ve got players and teachers who have introduced the game all over the world, but we need to come up with some kind of incentive for them to: A) keep in touch with the Federation.  And B) transition from casual play to competitive play with regional affiliation.  Once both those things happen, we could make the next crucial step towards regional competition.  We could keep each other playing.  The sky’s the limit with a developing sport, but it’s a long way up. 

Wiliam H. Whyte’s The Social Life of Small Urban Spaces - The Street Corner.  I got this from an article in the Atlantic, where Kio Stark introduces readers to her Stranger Studies syllabus: an actual thing that she teaches at NYU.  Brilliant.

Summer update

I realise that I’ve been remiss in updating this.  It’s been summer though so I was probably out frolicking in the meadows or something.  If you’re interested in my writing, I’ve written things recently for Unwinnable about Wifred Bagshaw’s Time Emporium, which I also worked on, various things for Exeunt including a piece of Punchdrunk's Aldeburgh Festival audio-adventure and an interview with my mate Jack McNamara about his Edinburgh show The Boss of It All.

I haven’t been in Edinburgh this month and always find it hard to shake the feeling that I’m missing out during an August spent in London.  I’ve been hard at work though, on a very exciting new project with Coney, which will be part of Futurefest at Shoreditch Town Hall on 28th and 29th Sept.  There are loads of fascinating people speaking there as well as the playful performance that we’re cooking up.  There’s going to be a playtest on 7th September at Toynbee Studios too, so come along to that if you want to see where we’ve got to so far.  I promise it’ll be fun and we’ll go for a beer after so you can tell us all the things that were wrong with it.  Get your (free) tickets for that here.

Also, I’m going to Athens from 12th to 15th August for the Athens Plaython.  I’ll be giving a talk on the 14th and running a brand new live game on the 15th.

Apologies for the prosaic nature of this update.  I will be posting up something a little more exciting soon, investigating the issue of competition in games and sports that I’ve been thinking about a lot recently in connection to a Killscreen article I was researching.  More on that soon…  In the meantime, please come along on the 7th Sept and get your ticket to Futurefest too.

 

 

Photo: Hussain Asthar

Photo: Hussain Asthar

The Hunt for the Yellow Banana and A Scanner Darkly

Venice as a Dolphin has been in Malé, Maldives, joining a group of games designers from Denmark, Germany, Czech Republic and the US to create new real-world games for that city.  Any connection between this and the recent sightings of a human-sized yellow banana in that city are, I can assure you, purely coincidental.

Closer to home (if your home’s in Bristol), I’ll be running a play-test of a game that’s been in development for a while that explores the gaming potential of the intersection between physical presence and radio presence through the computers most of us carry around in our pockets (smartphones).  The game’s called A Scanner Darkly and it may or may not have anything to do with the Philip K. Dick novel of the same name. Time and place: Sunday 19th May, 2.30 pm, Cabot Circus Bristol. If you want to play, it’s free but you do need to sign up in advance by e-mailing veniceasadolphin@gmail.com

We’re play-testing it before taking to the w00t Festival in Copenhagen on Saturday 25th May, so if you’re in/near Copenhagen, come to that because it’s going to be loads of fun. There will also be a talk from Tim Kindberg, who I’m collaborating on the game with.  Then I’m going to Venice to present the games we made in the Maldives at The Museum of Everything.

More about the Maldives soon… In the meantime, come and play.

Ping Pong Plus at the Barbican was a great success. Here are some photos (taken by Susan Sanroman). Players wore wireless headphones which would play them the sound of the shot they had just played as well as all the other shots they had played in that rally layered on top. The longer a rally went on, the move overwhelming the noise became. 

Accent theme by Handsome Code

Venice as a Dolphin is William Drew. I am a writer and game designer. Here you will find information about my latest projects in the field of live games and interactive theatre, a blog about theatre, performance and gaming. I will also post links whenever possible to other sites that I write for.



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