In the bustling city of Bengaluru, a unique tabletop game crafted by theatre artiste Karen D’mello is turning heads and piquing interest. Entitled “Trust me, It’s a Forward!” (TMF), this innovative game delves into the intricate web of trust, propaganda, and misinformation, transporting participants into a fantastical underwater society.
The interactive performance engages players in a vivid, imaginary world deep beneath a turbulent ocean, where various factions face crises and are compelled to make crucial decisions. Unlike traditional board games, TMF relies on a blend of storytelling and real-time decision-making, creating an atmosphere of suspense and camaraderie.
The latest iteration of TMF saw nine diverse participants, spanning several age groups, drawn into this immersive experience. They were handed pictures and audio clips that set the stage: life on a moon orbiting a distant gas giant, far removed from the comforting warmth of the heliosphere. The moon, notorious for its electric storms, harbors a lush ocean beneath an icy facade, where the players reside in a subaquatic station with a population of around 20,000.
Detached from Earth for centuries, the inhabitants of this moon have long forgotten their original mission. Each participant received an identity through numbered cards, taking on roles such as doctors, cetologists, or metalworkers. The game unfolded in six rounds, each broken down into three distinct phases: the game master asked pivotal questions, players responded either affirmatively or negatively, and tokens were distributed or taken away based on these answers.
Next, pouches containing red and blue tokens were given to the participants, pivotal elements to the game’s progression. Winning a round earned a red token, while losing translated to drawing a token blindly. The players listened to an audio clip and examined situation cards at the onset of each round to grasp the evolving narrative. The majority vote dictated the round’s outcome. Those who answered correctly secured a red token, advancing their position in the game. The final round posed a significant dilemma: signal Earth for help or focus on rebuilding their camp. Only three participants emerged victorious.
Karen D’mello’s primary aim for TMF was to bridge the gap between digital isolation and physical interaction, providing a fresh perspective on how information is perceived when the medium changes. “The two things I wanted to achieve with TMF were: first, to transition it out of the digital realm into an analogue space, in anticipation that this would offer a different perspective on the same information. Second, to immerse players in a fantasy world where they must engage in a role, whether they naturally align with it or not, while having fun and enjoying the process.
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The theme of trust resonated deeply with participants, many reflecting on their experiences during the pandemic and the tendency to lose sight of primary objectives amid a constant flow of information. When asked about the inspiration behind TMF, Karen noted, “The game’s format isn’t necessarily new. However, by ‘creative interventions,’ I refer to the broader connection with other activities people engage in. As a theatre maker, I don’t want to be confined to a single form. I wanted to explore inventive ways to tackle issues like misinformation, information overload, and the complexities of data systems.”
D’mello emphasized the game as a medium to bring people together, utilizing multiple senses to foster an immersive, enjoyable, and collective experience. “This game is an intervention that encourages full sensory engagement, immersing participants in fun and camaraderie. The essence of coming together is a vital component I draw from my theatre background.”
Developing TMF was a novel experience for Karen and her team. “We are a theatre company known for creative ventures, but we are keen to explore what our creative interventions can achieve. I had never worked on a game before, so we collaborated with Studio Oleomingus, an independent art studio run by Dhurv Jani and Sushant Chakraborty in Chala, Gujarat.”
TMF seamlessly integrates game design and theatrical production, developed in a mere two months. While the game’s setting remains fixed, its dynamics continuously evolve, offering a unique experience with each session. “Replicating the game exactly is challenging due to its complex algorithm, allowing for each iteration to be distinct. People can modify and create their own versions.”
Though there are no plans to scale this format further at present, Karen and her team are developing a second version of the game. The next session of “Trust me, It’s a Forward!” is scheduled to be held at Goethe-Institut, Indiranagar, on June 8, with sessions at 11 am and 4 pm. Interested individuals can register via a Google form available on the Instagram handle of the theatre group Kathasiyah (@kathasiyah).
Karen is optimistic about the potential of TMF to challenge perceptions and foster deeper trust among participants, blending the art of theatre with the mechanics of game design to create a powerful and educationally rich experience.
