May I ask you to describe your process of video game creation and give some advice for the readers who want to become indie game developers? How many collaborators do you have, and how did you find them?
Paloma Dawkins: I have a few collaborators I adore. It's best to stick with the people you love working with. My writer Ashley Obscura is amazing, we've done two games together so far. I also look for collaborators that aren't always agreeing with everything I say; I want to work with people that have great ideas and will call me out if my idea won't work. I think it's important to be able to communicate freely and without judgment. My favorite team flow so far has been composed of 7 people – project manager, creative director, animator/creator (me), writer, game designer, technical artist, musician.
Please tell us about your collaborations with museums and festivals?
Paloma Dawkins: I am currently in Moscow for a hackathon with Garage Gallery. I've recently completed a game commission Songs of the Lost for Manchester International Festival with acclaimed techno musician Jlin. I will soon be completing a game called Oceanarium which I've been developing with help from the Victoria & Albert Museum and the Canada Council for the Arts. In the future, my games will be a part of an exhibit at MassArt in Boston on February 22nd!
There is an impression, that women in games tend to make more experimental games than mainstream: peaceful or phantasmagoric, constructive, artistic, healing, ecological, educative&entertaining, or else. How do you think, what kind of fresh ideas and trends women in games bring into the gamedev industry?
Honestly... "peaceful or phantasmagoric, constructive, artistic, healing, ecological, educative&entertaining" sounds way better to me than whatever the hell mainstream media has been producing. I think we are at the start of a massive shift towards a more feminine view of the world, a more nurturing and sustainable future that values community and family over personal gain and greed... and If we aren't at the start of this massive shift, then we are in a lot of trouble. ALMAMAT. IT Faces