Overview

Expanding upon concepts from J. R. R. Tolkien’s essay “On Fairy-Stories,” Return from Faerie is a narrative escape game that sees players recruit the five Sages- each associated with a different storytelling medium: film, video game, theatre, music, and print. Players travel across five kingdoms to convince the Sages to return from the Realm of Faerie and face the Darkness that has overtaken their home world. Return from Faerie invites guests to solve puzzles, search for clues, and perform a bit of magic, all while examining the role that storytelling media has played in their own lives. Its story acts as an allegory for storytelling’s ability to equip, empower, and inspire people to face the hardships of life long after their engagement with storytelling media.

This multimedia experience completed its premiere run from April 5 – April 8, 2023 in the A200 performance space of the Lee Norvelle Theatre and Drama Center at Indiana University Bloomington.

Return from Faerie involves the work of 30 students in creative, technical, and managerial roles. At Indiana University Bloomington, there is no course, club, or program dedicated specifically to the full production of creative projects within themed entertainment, despite the fact that there are professional opportunities in themed entertainment for students of all academic backgrounds. This project provides an opportunity for students to apply their skills to portfolio entries within a themed entertainment environment.

Project Mission: To design, produce, and run an experimental Escape Game experience that is driven by narrative and engages with the following media: Theatre, Film, Video Game, Music, and Print.

Core Goals:

• Consideration of Scope
• Experimentalism
• Engagement with Multimedia
• Collaboration
• Mutually Informed Narrative and Mechanics

 

The Guest Experience

0. Sign-Up Survey

Unbeknownst to guests, their narrative journey in the Realm of Faerie began with the sign-up survey which accompanied ticket sales. In the survey, we included a section devoted to questions related to the guest’s media consumption, framing Return from Faerie as a conduit to explore the relationships between humans, storytelling media, and the “real world” early on. Among a few decoy inquiries, we asked guests to provide quotes from storytelling media that helped them through a difficult time, inspired them to take action, or allowed them to move forward in their life. We used this information to customize the Core Moment of the production- the Return- for each and every individual guest.

1. Check-In

At the check-in desk, the House Manager facilitated two key tasks:

1. Specialized Tags: Each guest received a specialized name tag with markings that conveyed key information to the live actor within the room, including how guests would be divided among the three tracks within the room and how guests should be ordered for the Return.
2. Rules: Inside the room, all interactions and instructions were delivered in-character and in-lore. Some rules, particularly those regarding safety and behavioral protocols, needed to be explained plainly to guests so that their understanding would be unhindered by showy language. Therefore, the House Manager shared these rules in an explicit manner before guests entered the room.

Supporting Materials:
Rules and Expectations
House Management Protocols

 

2. Pre-Show

Upon entering the Realm of Faerie, guests found themselves in the Kingdom of Thespia, greeted by the friendly and eccentric Sage of Theatre, portrayed by a live actor. The Sage began with an opening monologue that laid the foundation for Return from Faerie‘s allegorical story: The guests’ Homeland (allegorical for the “real world”) has been ravaged by Darkness (the trials and difficulties of reality, both internal and external). The power to defeat the Darkness lies with the Figments- the only thing that can be taken to the Homeland from the Realm of Faerie. The needed Figments are safeguarded by the other Sages, each presiding over one of Faerie’s kingdoms: Ludona, Cinemor, Melodica, and Libera. In order to return to the Homeland and face the Darkness, the guests would first need to obtain more Figments from the other Sages.

After setting the narrative groundwork, the Sage divided guests into pairs of two (pre-determined by each guest’s name tag) and assigned each pair a different Kingdom to explore over the next 50 minutes. At this point, the guests’ experiences split into 3 distinct tracks.

Supporting Materials:
Pre-Show Script
Performance Guide

 

 

3. Core Puzzles

Branching out from Thespia, the Kingdoms of Melodica, Ludona, and Cinemor each played host to a pair of guests, who pursued a distinct, narratively-driven puzzle track that was unique to those of the other two Kingdoms yet in service of the same overall goal.

Each Kingdom featured a Core Puzzle, which facilitated direct interaction with the Kingdom’s associated medium, and several satellite puzzles, which spun off of and fed back into the Core Puzzle. Completion of each Kingdom’s Core Puzzle granted access to a storybook page and the Figment guarded by the Sage of that Kingdom.

 

MELODICA

Storytelling Medium: Music

Sage: The Sage of Music was represented by a voice featured in Melodica’s Core Puzzle. She personified storytelling media’s ability to foster Inspiration.

Core Puzzle: Melodica’s Core Puzzle was an audio puzzle that incorporated vertical adaptive music, a game design technique that allows music to adapt to the player’s actions and other in-game factors. Solving puzzles granted guests access to Orbs, which, when pressed, activated a victory chime and added a new instrument to the background music. The final Orb added the Sage of Music’s melody, her lyrics containing the clue to Melodica’s final chest. The gradual building of the Sage’s Song over time worked both to deliver regular hits of reward-based satisfaction and to slowly shift the ambience of the space to a more lively tone over time.

Production: Melodica’s vertical adaptive music relied on integration between a cue system connected to the Orbs (which were pressure-sensitive buttons) and QLab, a multimedia playback software that routed sound to the speakers around the room. All parts for the Sage’s Song were first created in composition software then recorded by live musicians. The Music Supervisor and Puzzle Designer worked closely together to ensure the musicality and functionality of the puzzle worked in tandem.

 

Supporting Materials:
Melodica Puzzle Breakdown
Sheet Music
The Sage’s Song (see below)

 

 

LUDONA

Storytelling Medium: Video Games

Sage: The Sage of Games was represented by a pixellated character sprite within Ludona’s Core Puzzle. He personified storytelling media’s ability to impart Purpose.

Core Puzzle: Ludona’s Core Puzzle was a 2D platforming video game taking place in the Sage of Games’ Palace, which guests had to traverse in search of the Sage. Using RFID, guests transferred magical gemstones found in the physical world into the digital game, wherein the gems would become power-ups granting the player avatar new in-game abilities. These in-game abilities allowed guests to explore new areas of the Palace and access information that would aid them in solving more of the physical world’s puzzles, which in turn allowed guests to access more gems to be scanned into the game, creating a symbiotic dialogue between the physical and digital realms.

Production: The Ludona Game was created in Unity, making use of the PhidgetRFID Read-Write 1024_0B for RFID integration. All digital assets for the game were created, not sourced. Game asset artists collaborated with Return from Faerie‘s costume, scenic, and lighting designers to preserve and complement the narrative crafted by their designs in the physical world.

Supporting Materials:
Ludona Puzzle Breakdown
Game Script
Game Beat Breakdown
Debug for MacOS or Windows (press 1, 2, and 3 to simulate RFID scans)

 

 

CINEMOR

Storytelling Medium: Film

Sage: The Sage of Cinema was represented by an on-screen actor in a short film featured in the Core Puzzle. She personified storytelling media’s ability to provide Comfort.

Core Puzzle: Cinemor’s Core Puzzle involved a short film starring the Sage of Cinema. Insistent that she would never return to the Homeland, the Sage changed the ending of the film, hiding the true ending somewhere in her study. The Sage’s Vizier cast a spell that caused the Sage’s furniture (real props in the physical world) to reveal information about how to find the deleted scenes. Using hints from the furniture and visual information conveyed in the short film, guests restored the deleted scenes, wherein the Sage comes to see why she must leave the comforts of Faerie and face the Homeland she left behind.

Production: Character work, blocking, and filming took place over the course of two days. The Sage’s Film was shot on iPhone, using compatible tripods and microphones. Post-production made use of the Adobe Creative Suite. We burned the film and deleted scenes onto DVD-R discs, which were used as props. One of the greatest intricacies of the process was serving the needs of both the puzzle structure, which required certain visual information to be conveyed through the film, and the narrative development, which directly contributed to Return from Faerie‘s broader storytelling message, while maintaining a reasonable runtime.

Supporting Materials:
Cinemor Puzzle Breakdown
Film Script
Shot-by-Shot (Film Order or Edit Order)
The Sage’s Film (see below)

 

 

MEANWHILE…

While guests worked on puzzles, the Sage of Theatre utilized the hub-and-spoke floor plan to travel from kingdom to kingdom, offering hints and aid when necessary. The Sage always delivered hints in-character and frequently drew upon the lore of the Kingdoms and Sages in their delivery. Between cycles, the actor would briefly check our run crew’s Discord channel, which provided key updates on guest difficulties, sentiments, and need for intervention from run crew members watching the camera surveillance feeds. This update feed allowed the actor to be informed, effective, and efficient with the guests’ time while juggling three separate groups working through three unique puzzle structures- which was no easy task!

Examples:

4. Coming Together

At the 50-minute mark (or earlier if all groups managed to recover their Figments), the Sage of Theatre called guests to reconvene in the Kingdom of Thespia.

Reunited, the guests engaged in an improvised moment of celebration, if all pairs found Figments, or hope, if some Figments were left behind. Even a group with a perfect success rate would have only 5 Figments (2 from the interactive pre-show and 3 from the other Kingdoms). In either case, the Sage would speculate that what the group found might be enough to face the Darkness, but perhaps they’d find something more in the final kingdom.

With Figments and storybook pages in hand, guests ventured to the Kingdom of Libera at the edge of the realm for a final puzzle, left by the Sage of Pages.

LIBERA

Storytelling Medium: Print

Sage: The Sage of Pages appeared only as text and illustration. Her story, chronicled in the storybook, mirrors the journey of the guests.

Puzzle: For their final puzzle, guests combined the storybook pages found in the other kingdoms with an additional page hidden in Libera to complete a storybook. Referring to a cipher hidden on a note from the Sage of Pages, guests used the storybook’s page numbers and decorative drop capitals to determine a final 6-digit code. Guests used the code to unlock the Sage’s Chest, in which they found the final Figment. This puzzle was simple in concept yet satisfying in execution due to the incorporation of the storybook pages well-earned by guests in the other Kingdoms. The moment also acted as a social reunion for the guests, who had otherwise been separated throughout the experience. In our feedback form, guests viewed the moment favorably, with one guest describing it as “celebratory,” while others noted that it made all of the pairs’ contributions feel important.

 

Production: We specifically designed the final puzzle to be completed in fewer than 10 minutes with a 100% success rate. Furthermore, Libera acted as a contingency for Figment allocation. If guests had not completed all three of the prior Kingdoms, they would still earn the equivalent total number of Figments by completing Libera’s puzzle. The Sage of Theatre set these Figments, along with any un-obtained storybook pages, moments before calling guests back to Thespia. Through this method, we guaranteed that all 6 guests would have a Figment for the upcoming finale- the Core Moment of the experience in which the Figments played a key role- while still imparting the feeling that the ending was earned, not given out of pity. Furthermore, the contingency allowed guests to feel positive and accomplished going into the Core Moment. In most escape rooms, guests either escape victoriously or spend their last moments in a state of failure, sometimes feeling discouraged at their inability to complete not only the puzzles but also the narrative at hand. Instead, all of our guests ended their puzzle solving journey on a high note, which left them primed to feel positively about the narrative finale to come.

Supporting Materials:
Storybook Pages
Note and Cipher

5. The Return

With the last of the Figments found, the Sage of Theatre gathered guests and delivered a closing monologue, which tied up narrative threads from the guests’ journey in preparation for the Return. As the Sage spoke in front of the gateway to the Homeland, they bestowed each guest with a Figment and explained how the Figments would be used to battle the Darkness.

Finally, the Sage of Theatre opened the gateway to the Homeland and surrendered control of the narrative to the guests, who crossed over to find a central module surrounded by unending Darkness. As instructed, guests activated their Figments one-by-one, installing them into the Homeland’s central module. With each guest’s installation, a new Figment illuminated the space, and the music swelled, accompanied by a spoken quote- not just any quote, but a quote that previously encouraged that particular guest at a time they felt they needed encouragement the most: the quote submitted by that guest in the sign-up survey.

Some laughed aloud while others stood silent, deep in thought. Some shed tears while others shared smiles with their companions. Some gasped in realization, while others stood flabbergasted, forgetfully wondering how their most intimate inspiration could have possibly been known.

But all listened and saw, as a Figment of inspiration from their own journeys in storytelling media brought light back to the Homeland, driving away the Darkness metaphorically and literally, reminding them in heart-tugging light and sound of the moments when the same words had saved them before.

At this point they realized… the purpose of the Realm of Faerie- the world of storytelling media- was never to escape reality. It was to allow us to Return to reality… inspired and empowered to face its challenges.

After each Figment was installed, the theme of Return from Faerie grew from the swelling music, accompanied by a flurry of other quotes from storytelling media (which were submitted by our production team), delivered in surround sound and complimented by shifting, colorful lights. At the melody’s climax, the music drew back for one last quote:

As the music ended and light was restored, the doors opened, inviting guests to go forth into the Homeland boldly, inspired and empowered by renewed appreciation for the stories they held most dear.

 

 

Production: In response to advice received at the 2022 IAAPA Expo’s “Immersive Theatre in Location-Based Entertainment” panel from Lacy Campbell, creative director at The Bezark Company, the Return was isolated as the Core Moment of the production early on. All subsequent design choices were made in service of its success. Quotes submitted by guests in the sign-up survey were compiled by our Dramaturg, who created a dramaturgy packet providing context for each quote and its source material. Voice actors utilized the packet to inform the delivery of their lines at recording sessions with the Narrative Designer and Sound Technician, who provided additional direction. Music for the Return made use of both recorded and synthesized instrumentation. The Composer and Narrative Designer worked closely to create a theme that would surrender attention to guests’ quotes before growing into a triumphant and nostalgic ballad worthy of the Darkness’ defeat. Our Sound Technician integrated music files into QLab, which allowed guests to experience the moment in complete, ground-rumbling surround sound. Quote progression was covertly cued by the Sage of Theatre, who had the best viewpoint of the guests’ actions.

Supporting Materials:
Closing Monologue
The Return (see below)

 

 

Reception, Statistics, and Awards

In our feedback form, guests described Return from Faerie as:

75% of feedback form participants indicated that Return from Faerie challenged their ideas about what an escape game is or could be.
95% of previous escape game participants said Return from Faerie was “notably unique” to other escape games.
The most frequently commented sentiment was the desire to replay and see the other Kingdoms.

 

Return from Faerie is the recipient of:

• The Hutton Honors College IMP Capstone Award
• The IMP Outstanding Senior Project Award
• Second Place for Creative Endeavors at the IU College of Arts + Sciences Connect Challenge
• Nomination for the Provost’s Award for Undergraduate Research and Creative Activity

 

Innovation Statement

Great innovations in storytelling can begin in small places- a black box theater, an indie film festival, or an undergrad student’s dorm room. From the beginning, Return from Faerie was designed within the means of a student-produced project with a limited run rather than the means of a commercial escape game business. While these means begot a smaller production value in terms of scenic immersion, they opened avenues of creativity regarding innovative thinking that left guests calling the experience “immersive,” “engaging,” and “beautiful” even without the most elaborate, visually immersive set design.

Return from Faerie accomplished 2 Key Innovations:

1. High Replayability

It is highly uncommon for escape games to be deemed “replayable.” However, due to Return from Faerie’s specific structure regarding the three asymmetrical tracks, several players indicated they would play again to see the other Kingdoms. In fact, the ability to see the other Kingdoms was the most frequently made comment on our feedback form. The fact that so many guests indicated their desire to re-play the room to experience a different Kingdom indicates the ability to double and even triple the revenue a single escape experience could draw from a single guest. Return from Faerie’s pioneering design shows that the incorporation of asymmetrical gameplay into escape games could have incredible implications for revenue and customer return rate.

2. Customized Narrative Experience via Embedded, Guest-Generated Content

Player-specific customization to the degree that Return from Faerie achieved is uncommon among escape games, if not unheard of. Return from Faerie proves the potential of narratively embedded, guest-generated content in escape games, evidenced by the words used by guests to describe the experience: “inspirational,” “moving,” and “uplifting.” While words such as these may be regularly applied to theme park experiences and other offerings in themed entertainment, escape games are rarely, if ever, described in this manner. Return from Faerie succeeds in showing that escape games can be more than just interactive and immersive fun; they can also be impactful, touching, and intimate storytelling experiences.

 

Process & Additional Materials

If you’re interested in learning more about Return from Faerie‘s production process, please take a look at this Drive folder containing:

• Management Documents
• Schedules & Gantt Charts
• Media Deliverables
• Grant Proposals
• Process Photos
• A Reflection on Faerie’s challenges, successes, and opportunities for improvement, written by the Producing Creative Director.

Spoiler: One of our biggest challenges was the need to reset and strike from our performance space every day!

Interested in learning more about our story’s origins? Take a look at this excerpt from our first Design Conference. Although lengthy, this excerpt gets to the heart of Return from Faerie‘s intimate storytelling and showcases our early intention to create an experience that feels highly personal and touching for each individual guest.

 

 

Collaborators

Mitchell Black – Producing Creative Director; Puzzle Designer; Narrative Designer
Kaitlyn Brake – Actor (Film)
Haley Burgh – Vocalist
Josh Catanzaro – Music Supervisor; Composer; Pianist
Josh Church – Programmer
Blessing Culver – Storybook Artist
Mia Donald – House Manager; Actor (Voice)
River Epperson – Dramaturg
Kylie Fulton – Game Environment Artist
Ethan Goldblatt – Actor (Voice)
Alexys Hatch – Actor (Voice)
Jordan Hawthorn – Scenic Designer; Carpenter; Actor (Film)
Paully Hawthorn – Lighting Designer; Electrician; Acting Coach; Actor (Film, Voice)
Matthew Hayden – Assistant Puzzle Designer
El Hendricks – Actor (Live)
Kevin Hosek – Run Crew; Actor (Voice)
Julia Johnson – Harpist
Quinn Larkin – Actor (Film)
Lui Luangkhot – Percussionist
Adam Mohrs – Run Crew
Marco Molldrem – Actor (Voice)
Adam Morrow – Run Crew
Leah Mueller – Actor (Film)
Reece Needham – Audio Technician; Electrician
Bec Pawlowski – Costume Designer
Isaac Scheller – Recording Technician
Preston Seiter – Game Asset Artist
Lilah Senibaldi – Flutist
Orlando Shassberger – Actor (Voice)
Connor Swain – Cellist
Natalie Wells – Recording Assistant
Trish Hausmann – Faculty Advisor