
Where academia meets the games industry, things are afoot. Dr Mike Samuel, Lecturer in Digital Film and Television and Co-Director of the Bristol Digital Game Lab, explains how gaming can be a vehicle for public good – and recalls the role of the Atari 2600 in his own upbringing.
The Bristol Digital Game Lab is a focal point for conversations between academia and industry about video games and culture – responding to a need, especially among our student body, for someone to broker those kinds of connections.
In the last year, we’ve held lots of conversations with industry (including with the lead writers behind 2023’s Game of the Year Award-winning Baldur’s Gate 3), as well as ‘game jams’ where we bring people together to discuss and even create games with industry professionals and external parties. For example, we ran a successful game jam with Dr Edward King exploring the potential for games to respond creatively to the theme of algorithmic bias. Most conversations feed into further research; others result in working prototypes. We never know on the day – that’s one of the great things about it.
We’re in an era of convergence, both in academia and in technology. It’s an exciting time to work in the intersection of different fields and consider the possibilities.
Let the games begin
My academic life began in film and television studies, but I’ve always loved and valued games. My Nan first introduced me to gaming when I was very young. She was a keen gamer, so on weekends we’d bond over the Atari 2600. Luckily, the rest of my family embraced games as well: for my sisters, it was The Sims and Rollercoaster Tycoon, and for my father, Vigilante8 and Grand Theft Auto.
I was the first generation in my family to go to university: I was born into the fallout of Thatcher, in a South Wales post-mining town. We didn’t have much money, but my parents made time for art and for movies, and for talking about them as well. I guess that was their way of enabling us to escape our surroundings and to take pleasure in images and stories. On reflection, it was very much a humanities upbringing.
That pleasure in talking about things has stayed with me. Some of our coders who come to our sessions are quite product-oriented: their end goal is to create a prototype – and that’s fantastic. But for me, the exciting product is the conversation itself, spending time with people and thinking through some of those bigger questions through the optic of games. It’s also beautiful to see some of those ideas articulated, whether or not they result in a new game.
Birth of a notion
Actually, we have started to create a game ourselves, about postnatal depression (PND). This has really been my baby (aside from my other babies, human or otherwise). It came out of a frustration: after I became a new father three years ago, I personally experienced depression. What little information and resources I did find were the traditional pamphlets with condescending language and mindfulness imagery – the sort of thing I’ve always been allergic to. So, I started out by asking myself: how would I like to find this information? I also had a wider interest in engaging men more in conversations about mental health, and to create a tool that they’re likely to use.
I started working with a talented digital artist, Dr Danny Bacchus, and with my colleague, Dr Richard Cole, and we had early discussions with third-sector mentors and found statistical research confirming that men are more willing to access information if it’s both visual and interactive. That’s the definition of a video game right there! And we’re clearly not alone; indeed, over the last decade, various games have engaged with mental health (see Firewatch, Depression Quest and That Dragon, Cancer, to name just a few), and others have been used in therapy (for instance, the use of first-person shooter games in post-traumatic stress treatments for army veterans).
Rather than writing a narrative for our game (as there’s no single narrative around postnatal depression), we settled on creating a spatial experience. Within everyday spaces (a park, a supermarket, a kitchen, a bedroom), players’ experiences are shaped by randomly generated symptoms which affect the gameplay mechanics, from altering player movement through spaces to distorting the visual elements.

The long game
Now that we have a working videogame prototype, it’s time to work with partners and connections in the health sector and the third sector to test the product’s potential within the context of PND support and talking therapy, and to liaise with others to ensure its longevity as a resource.
There’s more we want to try – for example, immersive tech (if it’s not too immersive for a complex, sensitive topic like mental health). But most importantly, we see this game as part of the Bristol Digital Game Lab’s wider philosophical and commercial agenda as a source of inspiration and a platform for the creation of games as a public service. This is something I’m passionate about, and we’re definitely making it a reality.
You can find out more about the Bristol Digital Game Lab’s recent work – including the game jam on algorithmic bias – in their 2024 end-of-year summary and the accompanying video.