The IT University of Copenhagen was among the first wave of institutions to offer game-focused courses, and currently runs a two-year Master Of Science in Games that includes both theoretical and practical aspects. We talk with the head of the games study programme, Miguel Sicart, to find out what the university offers, and what defines game education today.
What makes ITU such a success?
We’ve consistently attracted world-class researchers to work with us, both as permanent faculty and as guests. And that focus on research excellence has been paired with a close dialogue with the local industry – we have always been open to the feedback the industry can provide, and how we can better cater for their changing needs. We do this on two levels: firstly, open communication with the local community, hearing what they have to say about our programme and adapting as much as we can. On a more practical basis, we try to incorporate local devs into our teaching. We see our role in the Copenhagen community as a focal point where students can meet the industry.
Which includes game jams?
Yeah, throughout the years we’ve tried to establish a hub for videogame culture in Copenhagen, arranging game jams and other events. Right now, we’re preparing a ’reboot’ of this idea, with a focus on installation-based and local custom-made multiplayer games.
How is the MSc structured?
There are three different subprogrammes: Analysis, which focuses on researching games and their sociocultural impact; Design, which looks at the intersections between game and interaction design, with a focus on playful design and interactions; and Technology, a subprogramme centred on artificial intelligence, procedurally generated game content and game design. We offer other game courses, too – about 20 in all.
In terms of its growth and relevance to the industry, where do you think game education stands right now?
That’s a complicated question. I think we are living in very challenging times for game education. Are we vocational training schools for a particular industry, or is the study and making of games a new area of knowledge? To me, the latter is obviously true, but there’s pressure both from developers and politicians to make education more ’practical’ and labour-market orientated. I think this is a mistake if we really want to harness the cultural potential of games and develop them as a medium – we cannot just cater for an industry. We need to think deeper and harder about why games and play matter, researching these questions from a wide variety of perspectives, from computer science and philosophy to the practical art of making games.
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