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March FableFriday: Owen Hey, Junior Developer

With his upbeat demeanor, signature smile, and twinkle in his eye when given the opportunity to build a new game, Junior Developer Owen Hey makes one thought come to mind – "O-wen will we learn more about him?" The answer is simple: right now.

FableVision scored a goal when the freelancer joined the company as a full-time staff member in July. His passion for games combined with his love of art, creativity, and overall aesthetics in programming help Owen build unique interactives that further FableVision’s mission in developing meaningful, educational projects.

“In college, studying both game design and computer science reaffirmed the feeling that I like the creative avenue of programming,” said Owen. “I understood the cybersecurity and low-level computing classes, but they didn't hold a candle to the cool games I was making.”

Owen brings not only his game development knowledge and desire to grow his coding skills, but also his positivity and ability to put everyone in a good mood, which brightens the studio. Read more to learn about Owen’s methods for finding the best feasible solution on a project, his original game Polygunners, his love of wizards, and the activity that brings him the most joy per minute. 


What’s your “journey to FableVision” story?
I knew I was interested in educational kids’ games after I worked with Eco Resilience Games in college to create a VR experience that helps kids learn about different eras of Earth. For example, they could look at Lake George in New York now, in the 1800s, in the Cretaceous period, and so on. With this organization, we play tested various games with kids at the science museum and it warmed my heart seeing them enjoying the games we worked so hard to make. I knew that I liked the children’s gaming industry, so FableVision appealed to me even more once I discovered it. 

After I graduated from Rensselaer (RPI) in December 2021, I went to GDC – the Game Developers Conference – with my resume, business cards, and a great smile on my face. I left with no job, but I met a connection who works as a programmer in educational media. We set up a call and he listed several companies in that industry on the east coast, telling me which ones he respects, which to avoid, and other information. He had great things to say about FableVision, and within two days of speaking to him, I applied for a freelance Unity developer position, spoke to Technical Director Jordan Bach, and was assigned to a FableVision project. 

What do you like about computer science?
Growing up, I really admired and looked up to my older brother, who’s five years older than me. He did computer science, so following in his footsteps was a no-brainer. Very quickly I learned to love it, and not just because of my brother. My high school offered an awesome Unity development course that sparked my interest in this field and really shaped my future. That class and my RPI courses made me realize that game development and creativity specifically were both aspects of computer science that I enjoyed and wanted to pursue. And it all started because of my brother.

What types of projects do you like to work on?
I definitely like games and interactives. I grew up playing lots of games, so it was always one of my goals to create them. It’s fun to work on projects that you have a lot of experience in, which for me is Unity, but I want to expand my palate to other frameworks, libraries, and game engines. 

I prefer working on smaller games because it’s always a new experience; you can learn from something you worked on in the past but also try something new. There’s quicker iteration with a cleaner process. On a bigger project, while the end-product may be more impressive, you get stuck with the code you wrote a while ago. I enjoy splitting the work into mini projects, like mini games within the larger game, so that each game is a breath of fresh air and I can create things from scratch.

How did your previous experience prepare you for your role at FableVision?
In RPI’s game design program, our projects were structured in small groups of four-to-five people, with a person from each field – designer, writer, programmer. From a programming standpoint, I worked on half a dozen projects with a similar group size and structure as FableVision. The biggest thing that was missing were the producers. At FableVision, they make the whole process so much easier and great, I love them! On my own time in college, one of my main hobbies was going into a game engine I was learning at the time and playing around. I worked on a lot of small projects to dive deep into a certain visual effect or style. 

My previous internships were closer to traditional software development, which helped reiterate that I want to be a game developer as opposed to a software engineer, but I also had an IT support position that taught me communication skills. The job was 20% knowing how to fix the problem and 80% being able to explain the solution to those who needed help. Growing my people skills was really beneficial, especially for a company like FableVision that values interpersonal relationships, and where I have to communicate with different members of a project.

Owen and his decade-long best friend Caleb.

Speaking of communicating with different folks, how do you work with producers, artists, and designers to create the best possible games and interactives?
Not everything can be built exactly the way people might want it, so there is some back and forth between the teams where we work to find the best feasible solution. To help with this, I’m good at giving these roles different options for what they can do. I prototype or mock up multiple variations and send them to the designers, artists, and producers to see what sticks. 

What advice do you have for aspiring game developers?
Something that I’ve found to be invaluable is separating what is good from what is easy – you don’t want to create something only because you know how to build it. Instead, focus on the design and what is right for the experience, even if it’s challenging. You will create a better game and learn new techniques, which will help you build new games in the future. You don’t want to get stuck and do the same thing over and over again. It’s also valuable to be very clear with what is doable, especially in the time and budget parameters that you’re given.

Tell us more about Polygunners!
In college, I worked on many small, narrative, puzzle-based games, but I wanted to create something closer to the type of games I personally enjoy playing. I also hoped to expand my skill set and develop a project by myself. For about six months, I worked on Polygunners, a cooperative action game where players fight evil shapes. I was really, really passionate about it and it eventually turned into my capstone project.

I did the game design, art, programming, and sound creation, which was a lot of fun, sitting in my bedroom, recording “pew, pew, pew!” I paid a friend to create the music and trailer. It’s called Polygunners because everything in the game is composed of basic geometric shapes, including the evil, scary Polyqueen. I published it on Steam, and while it’s not the most popular game, over 40,000 people have played it! It’s definitely the project that I’m most proud of making.

It seems like soccer is a huge part of your life.
Soccer is really important to me. Growing up, I played it like every kid plays a sport, but in middle and high school, I became very serious about it, traveling every weekend to play in tournaments. At one point, I was on the “Maine team” as part of the Olympic Development Program. I took a step back in my junior year of high school after a severe back injury, but I continued to play intramural in college. To this day, I watch a lot of professional soccer and play in intramural leagues throughout Boston. It’s my favorite thing to do – definitely my highest fun had per minute.

You also love drawing?
Even though I’m a developer, I’ve always liked the visual parts of game development, like graphics programming and procedural animation – it’s all about making stuff look pretty. I like doing artsy, creative things in code, which extends to drawing, because I see that as the most pure form of creativity. You can make something look cool in code or you can just draw it. I’m not very good at it yet, but I’m getting there, and I’m having lots of fun, especially drawing wizards and clouds. 


More About Owen

Favorite game: Starcraft II.

Favorite wizard: Septimus Sylvaria – he’s my D&D character, a 12-year-old boy who thinks he’s the best, greatest wizard that ever lived. My red wizard hat is his hat, that unfortunately for him got burnt, so now it’s black.

Favorite movie: Game Night.

Favorite sports player: Marco Asensio. And my favorite soccer team is Tottenham Hotspur.

Favorite snack: Oreos! 

Favorite place you’ve traveled: Perú – Machu Picchu, Lima, Cusco.

An Owen fun fact that most people don’t know: As an 8-year-old kid, I lived in Edinburgh, Scotland in a flat and I went to school in a castle!

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August FableFriday: Kellian Adams Pletcher, Director of G.L.A.M. (Galleries, Libraries, Archives, Museums) Innovation

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Galleries, Libraries, Archives, and Museums—this is Kellian Adams Pletcher’s world of G.L.A.M. and we’re all just living in it. With her large, bright smile and signature enthusiasm for immersive learning experiences, Kellian recently joined the FableVision team as the Director of G.L.A.M. Innovation. The studio has a long history of working with informal learning spaces, including museums, and Kellian’s background in imaginative, game-based work will help FableVision grow its partnerships with the G.L.A.M. community through the merging of physical and digital worlds when engaging the public.

“I’ve worked with museums across the country and across the world, and I absolutely love it,” says Kellian. “I’ve also always loved FableVision—I’m impressed by the projects, games, and everything the company builds. I’m excited for my new role and to build museum games for a large studio with an incredible team.”

Through her work at Active Chinese, SCVNGR, and Green Door Labs, Kellian joins FableVision with 12 years of experience in crafting immersive experiences through creative and strategic game design. As the mastermind behind Green Door Labs, a company that builds site-specific games and adventures, Kellian has created custom mobile games, cultural institution games, and interactive theater experiences, for clients like The Metropolitan Museum of Art, The Smithsonian, The National Parks Service, The USS Constitution Museum, and many more. 

Kellian’s passion, creativity, and extensive experience makes for the perfect new FableVisionary. Read more to learn about Kellian’s G.L.A.M. journey, theater projects, museum knowledge, and love of swing dancing!


What is your journey to FableVision story?
I’ve run into FableVision’s team and work a lot in the last ten years at Green Door Labs and I always had so much fun with them. I told myself that if I wasn’t at Green Door Labs, the only other company I’d really want to work with was FableVision. As an independent studio owner, I have to say I was pretty burnt out after the pandemic, and I considered entirely shifting directions. Luckily, I caught up with Gary Goldberger, and he told me I could do what I do, but with the support and energy of a larger team with FableVision! It had honestly never occurred to me that I could continue building museum games, such a niche profession, at a larger studio, so I’m really excited to imagine what we might be able to build together!

Why are informal learning spaces important?
Learning is social and it’s best achieved when people are relaxed. While a K-12 school is essential, it’s a pressure-cooker environment for kids. On the other hand, informal learning spaces allow children and adults to learn in a way that’s authentic and organic. People can discuss with each other why certain pieces do or do not resonate with them, while also learning their history. Museums increase empathy and kids that go to museums at least once per year show an increase in ability to empathize with other people. 

The secret of the G.L.A.M. world is that G.L.A.M people find magic in objects and they connect people to that inherent magic. It’s hard to throw away an old t-shirt or a childhood teddy bear because they have meaning to you—even if you know the object itself is monetarily worthless. Galleries, libraries, archives and museums help us understand which objects have the right magic for our times and how to make sense of it. G.L.A.M.s use objects to address deeper issues of how we attribute meaning and value in our lives—a concept that gets fuzzy sometimes in the world of intangible ideas. That’s also why museums can keep such gigantic collections—one never knows what will be relevant to people in the upcoming years. For example, objects created by and for American and European white men aren’t as salient in 2021 as they were in 2000. However, museums that have been wise enough to collect objects and art created by and for women and people of color suddenly have found that those objects have a whole new resonance for all people today!

What are you hoping to work on in the future at FableVision?
I have big ideas! I’m really excited about the European market because European museums (with the exception of Great Britain) have been traditionally more conservative than American museums when it comes to building game-based interactives or creative programming in their galleries. Now that they’ve seen how games and story-based exhibits in American museums have been reliably successful, European museums don’t think it's a  “crazy” new approach anymore and a lot of them are curious about what can be done there. 

I’m also interested in projection mapping, which is a fantastic way for visitors to interact with museum content. I was blown away by what was done with Connected Worlds at the New York Hall of Science a few years ago, and the technology has only improved and become more robust since then. Museums like the National Palace Museum of Taiwan’s Children’s Gallery 2.0 use this wonderful combination of animation and objects. Projection mapping is starting to appear in large, mainstream gallery exhibitions, like Tokyo’s teamLab Borderless or the traveling immersive projection Van Gogh exhibit. With FableVision’s incredible art and animation team plus our game design and development chops, I think we can create some interactive projection mapping installations that could knock your socks off! 

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And what’s your approach to immersive projects?
I don’t want to get distracted by the perfect thing I could create if I had buckets of liquid cash because that’s seldom the situation in the G.L.A.M world. We want to figure out how to build the best possible project with what we have. I’ve developed a system to figure out what my design parameters are and that direction makes me more creative! It’s very seldom a blue sky so I systematically list out a project’s goals, resources, and restrictions and boil that down to a smaller subset of possible projects. We take a look at the funnest options that fit our design parameters and go from there. I find that the problem with creativity often isn’t too few ideas—it’s too many! A lot of it is the process of taming those big ideas into something that can really shine. 

How did you get started working in the G.L.A.M. community?
I started out as a middle school teacher, which I suppose is not too hard to imagine if you talk to me for more than ten minutes. After teaching in Shanghai for five years, I received my graduate degree in teaching to launch my teaching career in the U.S. However, I also worked as a producer at an educational video game company in Shanghai that built language learning games and created fun stories. I got bitten by the game design bug! After you’ve done that, it’s hard to give up interaction design and return to a regular K-12 classroom. I wanted to continue creating crazy new interactives! 

SCVNGR, a 2008 start-up that focused on social location-based gaming for mobile phones and later launched LevelUp, brought me on as the head of museum projects. It was the wild west—no one knew about location-based gaming and museum games at the time. My education background allowed me to help museums express their learning goals. As I worked with different people from museums across the world, I realized that they were my people, my tribe.

How have you seen the G.L.A.M. spaces react to the pandemic and what does that mean to the future of informal learning spaces?
There’s a long history of museums in America battling between academia/curation and education. Some lean toward the idea that museums are academic institutions that publish papers and do academic research, while others focus more on how museums are living, public spaces that draw and educate crowds. The pandemic shifted museums toward collections and many laid off staff in the education space. Although it’s devastating, it’s not surprising, and educators hope that this will balance out in about two years. While museums suffered during the pandemic, because the U.S. has a lot of smaller, quirkier museums (like the Hammer Museum in Alaska that I visited), people rallied to save the spaces they care about. You have a lot of special diamonds in the American museum system.

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Another interesting thing is that a lot of the laid-off museum staff have become freelancers over the last year. As opening museums think about their physical spaces and their limited staff, they’re turning to their former staff, who are now independent contractors. While museums previously created a lot of in-house projects, I predict they’ll now be turning to other companies or outside sources.

How did you go from designing museum games, like Murder at the Met, to immersive projects?
There exists more overlapping between the two than people expect. I’m part of the Boston Playable Theatre Project, I taught as an adjunct professor in game design at Northeastern University for four years, and I’m friends with a lot of game designers in Boston, like Lizzie Stark, Caro Murphy and Celia Pearce. Boston has an amazing games community and games became part of the immersive scene really naturally here. So it was a natural transition for me as well, especially since my specialty is location-based games that involve a physical space. I’m best at getting people interacting with technology in a physical space.

Can you talk about some of your immersive theater projects?
At my company Green Door Labs, a Boston-based indie game design and production company, our first immersive theater project was Club Drosselmeyer 1939. A recreated swingtime Nutcracker set during WWII, it has elements from live-action role playing, escape rooms, and immersive theater cabarets. Last year, due to COVID-19, we did an audio Club Drosselmeyer, where audiences would listen to a radio show online, call different telephone numbers as they completed puzzles, and reach seven different endings. I’m hoping to do a full, in-person Club Drosselmeyer again this year. My swing dance community has been such an important resource because I’d contact my friends and be like, “Danny, let’s rewrite Nutcracker in swingtime” or “Elise, let’s get an eight-piece swing band!” Last year we also created the American Society for the Protection of Magical Creatures, an online puzzle-solving game about a magical nonprofit working to protect the magical ecology.

And lastly—you love swing dancing?
Yes! Before COVID-19, I would go dancing in the evening until 11 p.m. and then we’d go out for ice cream—at least three times per week. I’ve been dancing for a long time and I have a team called the Boston Lindy Bomb Squad, which does Lindy Bombs that focus on music, fun, and community. Every summer, we also participate in the Roaring Twenties Lawn Party at the Crane Estate. Everybody brings picnics, we wear our 1920s hats, dresses, and gloves, and we dance all day to live music.


More About Kellian

Favorite era or decade? Definitely the 1940s—it’s the first time in the U.S. when women see real agency and independence that’s recognized by U.S. law. They began to own businesses, take leadership roles, and enter universities at higher rates. As women were employed in industry, publishing, and computing, the establishments started to realize during wartime that women are an essential addition to the workforce and public life. It was also the first time that women in the U.S. were accepted into the military, starting with the U.S. Army Air Force. Women Air Force cadets, also known as WASPs, served in clerical and mechanical roles. Some women pilots even ran domestic flight routes! (Though the first American female combat pilot didn’t fly until 1993.) I love the music, art, and imagery that showcase a sense of rebellion and joy in this dark time in history.

Favorite museum? Isabella Stewart Gardner Museum—I love the story of Isabella and what she collected and how. She was such a force of nature. For instance, the Rape of Europa is one of the most valuable pieces of art in the world and it’s not sequestered in a perfect room with perfect lighting. Isabella hung it right above a swatch of fabric from her favorite dress. Why? Because she really liked that dress. And the Titian was OK, too. She was so human, and there’s nothing like a regular person to add some humility to a great Titian masterwork. I love that humanity and the fact that the museum can’t rearrange her collection from how she set it. The Gardner allows you to see the art for what it is, not what it’s supposed to be. The Peabody Essex Museum is a very close second. I love that it’s the oldest museum in the U.S. and that it includes so many wonderful things—I could stay there forever! Fashion, natural history, classical art, Asian art, Asian export art, an actual house from China, contemporary art, oddities, and historic New England buildings—the PEM has it all! 

Favorite game? Quandary—it teaches the process of decision making, demystifies compromises, and helps kids understand the difference between fact and opinion. It’s a perfect game for middle schoolers because it’s so clear and logical. I think adults could stand to play it as well!

Favorite book? Baroness Orczy’s The Scarlet Pimpernel—what isn’t there to love? There’s a hero husband, a genius wife, secrets among them, secret identities, and the saving of nobles in France. Recently, I’ve been reading Terry Pratchett’s Discworld series.

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Welcome to FableVision’s Summer Camp!

As sunlight fills the days after 15 months of COVID-19, we’re looking forward to an engaging and exciting summer. To ensure that your children continue to learn while they’re on break, we created FableVision’s Summer Camp—a compilation of resources, including educational animated series, games, softwares, and videos.

Help your children have a fun summer by supporting their creativity, sparking their imagination, and encouraging their interest in new things. Whether they enjoy animals, engineering, or meteorology (just to name a few)—we’ve got you covered with a variety of free/low-cost activities that can be enjoyed by your family! 


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PBS KIDS Parent Activities Videos
Saturn’s rings, puzzle boxes, Yup’ik dance fans, and more—these live-action videos produced for PBS KIDS’ website for parents provide fun and educational crafts to create with your children using household materials and art supplies. In tandem with their favorite PBS KIDS shows, like Molly of Denali or Elinor Wonders Why, families can complete hands-on activities, while learning about central themes of the shows and discussing important questions. Grab your crayons, glue, and scissors and follow the easy steps in the videos—it’s time to make butterfly costumes and periscopes.

The instructional videos are available for free on PBS KIDS for Parents.


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The Paper Girls Show
How about a summer trip to Confetti, a beautiful world built entirely out of paper? In the FableVision and Global Tinker animated series The Paper Girls Show, best friends Cailey and Reese travel to Confetti to visit their paper friends Kami and Dev. Together they creatively invent solutions applicable to the real world. Each episode features a new type of technology, such as 3D printers and robots, and the series infuses STEAM curricula that inspires young girls to explore arts, science, programming, and engineering. 

Watch the series for free on YouTube.


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UCAR Animated Atmosphere
As summer brings heat waves and hurricanes to New England, help your children understand the weather by watching Animated Atmosphere videos, created for University Corporation for Atmospheric Research (UCAR). To describe extreme weather and how to stay safe, the animated videos feature a weatherman yeti showing cold weather conditions, a dog demonstrating how to take care of pets, and a palm tree illustrating the effects of tropical storms. Humor, cute visuals, and an approachable script allow children to understand weather phenomena and get introduced to discussions on climate change.

The videos are available on UCAR’s YouTube.


FableVision Games
FableVision Games, a research- and educational-game-based platform, engages students and improves their learning outcomes in STEM, social studies, literacy, and social-emotional skills. Math, history, puzzles, and more—FableVision Games has something for any child’s interest.

The games are available on the FableVision Games website—play for free through June.


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Echo Explorers
Speaking of Cyberchase, Hacker is up to his usual tricks. He trapped some bats and the CyberSquad needs your help to free them. Created in partnership with THIRTEEN/WNET and Bridge Multimedia, Echo Explorers, a born-accessible game, follows guidelines from child disability, math, and environmental science content experts. It can be tailored to each child’s unique learning needs and sensitivities through settings in sound, captions, background visuals, difficulty, and control modes. Children of all abilities learn about echolocation and coordinate mapping with their favorite characters from the PBS KIDS show.

The game is available on PBS KIDS.


Go Wild! With Ranger Rick
Who can better excite children about wildlife than the beloved raccoon Ranger Rick? The FableVision-created mobile app for National Wildlife Federation (NWF)’s Ranger Rick teaches 4-8-year-olds about animals through three activities. In “That’s Wild!,” children engage through jokes and riddles about their favorite animals. In “Mystery Animal,” a set of clues helps children guess the unknown animal. Lastly, in “Rick’s Pix,” children create a scrapbook of animal photos decorated with stickers, frames, and nature backgrounds. The app excites children through fun activities, vibrant colors, and NWF’s extensive database of information. Next time you’re at the zoo, aquarium, or backyard, learn more about the animals you see through Go Wild! With Ranger Rick.

The app is free to download with a Ranger Rick subscription.


Reach Every Reader Apps
Help your young children begin their literacy journey! FableVision-created mobile apps, Photo Play and Animal Antics, for Harvard Graduate School of Education (HGSE)’s Reach Every Reader initiative, turn everyday routines into learning opportunities for 2-4-year-olds. In Photo Play, children decorate their own photos with stickers, emojis, and talk balloons, which helps them facilitate conversations with caregivers about the photo memories, locations, and details. In Animal Antics, children and caretakers use their imaginations to role-play as different animals. Reach Every Reader works to bridge the literacy gap by providing learning opportunities and word acquisition in low-income families.

The apps are available to download for free.


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FabMaker Studio
Spark your child's interest in engineering through FabMaker Studio, an easy-to-use, web-based program that allows children to engage in STEM and STEAM learning. From idea to reality, children build paper prototypes and final designs with this researched-based application. FabMaker Studio is part of the national Make To Learn research initiative, a unique for-profit/non-profit collaborative founded by Glen Bull, Co-Director of the Center for Technology and Teacher Education at the University of Virginia and The Reynolds Center for Teaching, Learning, and Creativity

The online-tool provides a low-cost, accessible way to design and invent 2D and 3D projects. As children progress through the program, they transform their creativity into building their own working machines. FabMaker is perfect for creating at home, in the classroom, and summer programs. 

 If you click here for more information, you can also receive a free activity!

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