BCM300 – Mechanics, of the start of the game, and the end

Our group decided for our blog post regarding the important mechanics within our game. My own blog post, is dedicating to discussing the mechanics regarding the beginning and end of the game.

The game begins with the arsonist placing fires where they see fit at their end of the board, where they are then able to build up through out the game seeking to reach the other end of the board where the fire fighters attempt to prevent them from doing so.


The arsonist immediately wins if they are able to spread there fire to the other side of the field and therefore burn down there targets. The firefighters are able to win if they are able to prevent the arsonist from doing so while a detective/inspector character attempts to find the arsonist and therefore arrest them. The exact time limit for how long the firefighters need to hold out for hasn’t been ascertained yet by our group as this would need to be work-shopped and experimented with to see exactly how long the arsonist should have to make the game most fair for both sides.
For example, one of the issues if this time limit wasn’t perfect that could occur would be, the arsonist being too easy to win as, or being far too impossible because they do not have the opportunity to burn their targets.

As for how the time limit would be counted, this would be a turn counter with likely an inspector/detective piece that counts down each turn. For example 15 turns, it’d look something like this.
firefighter 2.jpg


Every turn the arsonist ends, the detective/inspector piece would move one slot across, until it eventually reaches the final slot meaning the arsonist has been caught.
This as stated earlier means the firefighters have won and the arsonist has lost.

This means the winning conditions for the arsonist are to reach the opposite side of the board, while the winning conditions for the firefighters are to do their best to do so.
The factor that likely would balance these conditons to be fair for both sides would be elements of luck with terrain cards and the opportunity for clever tactics with backburning from the firefighters, as well as the opportunity for the arsonist to burn multiple tracks of fires like so.arsonist 2.jpg

There are alot more elements, that need to be ironed out as to how to best balance, the win conditions as well as if the arsonist needs an advantage during the beginning of the game like placing multiple fires for his first turn, this would all be worked out most effectively by making demos and work-shopping the game to experience how it would best be played.

Other blogs

Blog details the role and mechanics regarding the arsonist, and the firefighters.

Jei’s blog post deals with the pieces and physical elements needed for the game and the tactile experience.

Sam’s blog will go into detail about the different terrain cards and what they achieve.

MEDA301 Project Proposal

In the previous week, I discussed the form of mash up as one of the processes I am most interested in. As for my project proposal as to what I may investigate, I think an interesting work would be to follow a recent political, technological or social change in the world or in particularly Australian society, and make a documentary work using elements of mash up to create new meaning. This ideally would also have an both aspects of entertainment and comedy within in it, much like the works of Jason Gastrow as I mentioned in my second post.

I would also want this work to be using techniques that I cultivated previously in my mash up work. Some issues that I personally find interesting are perhaps the recent changes to the video game production industry, the immersion of streaming technologies and how these differ to the traditional television and film industry. These are issues and ideas that affect the entirety of our society, though more noticeably the millennial generation. As such these are concepts that I feel I would enjoy investigating gathering materials for of figures speaking about these issues and then recomposing these materials as a mash up documentary film with perhaps either a message of a kind, or an educational aspect. As I stated earlier I also want to make something that is entertaining to an ordinary person and create something that can be consumed, understood and enjoyed by anyone and not restricted to academics or people from the media arts field.

In this work after gathering materials I would be interested to experiment with the process used in Erik Gandini’s mash up. While I’m not particularly personally passionate about working with a installation work if this would further add depth to what I was producing I would be interested to experiment with how installing a initially screen based work on multiple screens or in different ways in an installation could change the result of the work, and how powerful the message I intend to convey may be conveyed.


I might also quickly mention the work of Crowbcat, a YouTube content creator who works with many different forms of media generally YouTube videos or broadcasts of technology conferences and uses these materials to make excellent commentary on whatever issue he targets in his content, by cleverly manipulating audio and video of the different materials and combining them he forms new meaning and commentary on society and whatever it is he is targeting. In this video for example, he makes a compilation of many different figures and clips of people playing virtual reality machines and how they for appear in early 2018 to be perceived by expressing both negative and positive aspects of the technologies by complementing the video footage with audio of different quotes from people commenting on the emerging technology.


YouTube. 2018. Crowbcat – YouTube. [ONLINE] Available at: https://www.youtube.com/user/CrowbCat/. [Accessed 25 March 2018].
YouTube. 2018. Jason Gastrow  (Videogamedunkey) – YouTube. [ONLINE] Available at: https://www.youtube.com/user/videogamedunkey. [Accessed 25 March 2018].
YouTube. 2018. Surplus Shop – Erik Gandini – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=cHdMtjWkiZU. [Accessed 25 March 2018].


MEDA301 Research working Processes & Forms

If I am to research forms that appeal to me as a creative artist I think one that may appeal to me is the work of Erik Gandini and other similar artists who use mash up, to create new meaning. This could also be accompanied by voice over to create entertainment, or to add further meaning to the work. Previously I myself attempted to make a Gandini inspired work in my work ‘Political Surplus’ which I posted in my first meda301 post.
However, Gandini does what I cannot and truly creates a powerful message through his excellent editing and accompaniment of music in his mash up.
His work, Surplus is a documentary which discusses the issue of people being terrorized into being consumers.


Personally I find this work to be one that appeals to me, because though I enjoy shooting I also enjoy using mash-up as a form to give further depth to my creation. This work is also one that appeals to me as I have an interest in creating documentaries on issues that are of interest to me.

As for the process of creating a work like a mash-up I experienced first hand the difficulty of firstly having an idea to convey and then scavenging and gathering footage from tv, online ect and then using that to cut it together and forge a new comment on society. In my own work Political Surplus I tried to highlight the parallels of Australian and American politics while also having an entertainment aspect within it.

The steps taken were,

Coming up with an idea or theme.
Gathering materials of clips ect to use within film.
Experimenting with materials, and working out how they could or should be cut together to forge new meaning.
Experimenting with audio/music in how it may be manipulated to greater improve the quality of the message I wish to present.
Recording and adding any further footage I may need, (B-roll, ect)

These are these are the processes that I used to create my Gandini inspired work.
While these are not necessarily the ways that Gandini produces his own works, this how I interpreted his method from viewing his films.



YouTube. 2018. POLITICAL SURPLUS – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=hUBUVxGOCvQ. [Accessed 20 March 2018].

YouTube. 2018. Surplus Shop – Erik Gandini – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=cHdMtjWkiZU. [Accessed 20 March 2018].

MEDA301 – Research Opportunities

I previously posted about how YouTube has influenced my creative thinking, sense of humour and here in this post I might comment on how opportunities exist within it. It terms of my skills, I previously stated how I love to entertain, and enjoy editing, while also being a creative film maker.
Relatable to my previous post, I might note that I have previously worked as a post-production editor for several YouTube personalities in my past. Recently, I haven’t been following this opportunity. While financially this was a decent opportunity for me to work as a YouTube editor this is a career path that is one of limited creative freedom working to create the best comedic effect from another person’s work, or forcing entertainment through editing in pieces that aren’t necessarily worth even being edited. After a while, of editing on YouTube as an opportunity I found that unless the person I was going to edit for was someone who I was personally interested in there was no way I could still feel creatively passionate about what I edited or created, even if the employer gave me almost limitless creative opportunity with the footage they provided me. This could range from skits, lets plays, or generally an empty lifeless recording of them playing a video game with my job being to turn those hours and hours of ‘boring’ gameplay footage in a work of entertainment for a massive YouTube community.

So, then what other opportunities are available to me, while I do enjoy editing I also do enjoy the opportunity to work practically with film making devices, cameras, microphones ect.

This leads me to other opportunities in working as an indie film maker, developing my own content to present online to people not for financial gain but because I’m passionate about it. Opportunities for local or nationwide ect film festivals, Tropfest and the like these are things which I have opportunities for. While I like being someone who comes up with ideas for a creative film or production I also enjoy the practical part of producing the work, this means there are of course opportunities left for me to work in both the television or film industry as I enjoy working with a camera assuming the production or work is something I would personally want to be a part with.

I do recall last year, a position with the Shoalhaven Local council who wanted a digital-content creator for someone to essentially create short tourism driven videos to advertise and sell their beaches and popular tourist destinations which is the kind of job I could easily see myself enjoying and working in. This kind of opportunity is one with both creative freedom, but also with an objective that although not entertainment driven is interesting enough to me as it actually serves a purpose. I personally have yet to find myself not interested in how advertisements are made so as another opportunity I could definitely see myself creating local business advertisements and eventually for higher tier clients as a refined and improved my skills as really selling a business. This is something that I’m also interested in as I’ve enjoyed working in customer service in several different jobs.

BCM300 Arsonist Al? The narrative?

In class today, with my group of Eliza, Sam and Jei we began to experiment in developing a game with a narrative that was interesting to us, while not overshadowing our games mechanics.
The game we prototyped in class as a group was Arsonist Al, a board game with a tile based game drawing mechanical inspirations from Battleship, Nexus ops and Pandemic. As for the inspiration on where the idea of creating a arsonist themed game, I’m not sure as to where a member of our group (Jei) decided on the idea, but the group agreed happily to workshop the theme. Our narrative, is the idea of 3 fire-fighters engaging with the fires created by the Arsonist who is 1 player. This is a 3v1 game where the arsonist has hidden objectives which only the fire-fighters know the location of. These could be towns, cities, buildings ect where the arsonist will attempt to burn the entire game’s map/tiles to the ground to attempt to burn these objectives. If the arsonist can succeed in doing so, he has completed his objectives. However, inevitably even after completing these objectives the arsonist is inevitably caught and imprisoned for his crimes. This is both a mechanic and narrative, in which we use an inspector/police/detective token which moves throughout the game as turns occur which count downs the time before the arsonist is caught. One of the interesting ways the narrative of our game relates to our mechanics is there Is no direct confrontation between the players and the arsonist but rather a response the arsonist’s actions. The fire fighters fight the arsonist’s fires rather than the arsonist himself. In the same sense, the arsonist targets towns or his objectives and cannot directly interact with fire-fighters in the same sense of our narrative how a fire-fighter would be unlikely have direct contact with an arsonist. Our narrative is the idea, of an Arsonist who wants to burn certain things, and will be caught no matter what, and fire-fighters who intend to stop fires from spreading and protecting particular locations.

  • Blake Foggo

MEDA301 Research of Contemporary art influence on my practice

I stated in my previous post that I find my art practice to be that of a videographer, a video editor, and a director of sorts. The reason generally for me creating works is for the purpose of entertainment. While this is true there is also of course my occasional drive to create more politically or socially motivated works while maintaining an element of entertainment in the work. This leads me to consider the history of how art and content has been created in a comedic sense while also leading questions about our world’s social and political state. I think one of my common interests is the format of satire, this particular sense of humour is one that appeals to me as an artist using it as a medium and as a consumer enjoying it. Most notable to me would be the recent successes of the extremely serious online newspaper ‘The Betoota Advocate.’

The Betoota Advocate and other satire newspapers are notable to me as an influence as they comment on daily life and at times make serious political commentary which is both thought provoking and entertaining. This is the type of art they I personally strive to create. While trying to figure out what historical artists have affected my practice I found I was unable to find any directly relevant historical or practices that I see as an influence. I personally find that my work is heavily moulded by contemporary artists.

Within my art practice, my focus is generally on the entertainment aspect of my work.
While I consume movies, and television shows as much as expected of those of my millennial generation I also realise one of my main sources of both information and entertainment is the medium of YouTube.

While YouTube is powerful because of its wide ranging content that is quite ‘literally’ created by anyone and everyone it also allows for a type of expression and direction that can’t be achieved anywhere else.
By far the biggest inspiration on my creation of art is a ‘YouTuber’ by the name of Jason Gastrow (Videogamedunkey) while his editing from an aesthetic perspective isn’t very impressive his comedic timing and manipulation of many different types of media is impressive. Gastrow uses manipulates other media, such as his own voice recordings, other videos on YouTube, television and film clips, music to create completely new works. These new works are at times simply in the form of entertainment for his audience, but is also at times critical and perhaps more subtle in what it suggests.

‘Videogamedunkey, The Sonic Legacy’ 16/02/2016


One of my reasons for a connection to Gastrow’s work could also be that it’s not always immediate huge social or political issues that he critiques through his comedy. In this work for example, he makes a critique of website captcha codes which are at times required to create an account or log into an account as an anti-botting protocol on that website. This perspective of critique on how stressful, annoying or at times silly these captchas can be.

‘Videogamedunkey, Captcha’ 14/06/15


In conclusion Gastrow is a huge influence in how I view comedy and connect comedy to social and political issues and form commentary through my own works. His manipulation of audio and video together to weave together a new message through the new creation is something that I aim to replicate in my own works.

The Betoota Advocate – Home | Facebook. 2018. The Betoota Advocate – Home | Facebook. [ONLINE] Available at: https://www.facebook.com/betootaadvocate/. [Accessed 07 March 2018].
YouTube. 2018. videogamedunkey – YouTube. [ONLINE] Available at: https://www.youtube.com/channel/UCsvn_Po0SmunchJYOWpOxMg. [Accessed 07 March 2018].
YouTube. 2018. The Sonic Legacy – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=ZgsByqwaC5k. [Accessed 07 March 2018].
YouTube. 2018. Captcha – YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=WqnXp6Saa8Y. [Accessed 07 March 2018].