April FableFriday: Peter Stidwill, Executive Producer

“When there’s a lot going on, it’s a bit like conducting an orchestra,” shares Peter Stidwill, FableVision Studios’ executive producer. A working studio has many moving parts—departments, research cycles, partners—and Peter works with all of them to ensure harmonious production. 

Peter originally connected with FableVision during his time at Learning Games Network (LGN), a longtime FableVision partner, with whom the studio collaborated on the award-winning Quandary. His background includes jobs at the BBC and the UK Houses of Parliament, where he worked on game-based learning and digital educational tools.

In his role, Peter manages multiple animation, games, museum interactives, and other media, as well as oversees staffing to ensure that teams are set up to meet the varied needs of all projects and clients. From finding potential new partners to creating initial timelines to reviewing user feedback, Peter guides projects from inception to completion. “As a producer, I absolutely love being the ‘vision holder’ of a project,” shares Peter. This “vision” allows him to oversee every aspect of a project as the ultimate production maestro. You can catch him representing the studio at various panels at industry conferences—including an upcoming one in June! Read on for more details. 

What does a day in your life as executive producer look like, and how has your daily task list changed since first joining FableVision?
Although my transition to executive producer meant taking a step back from some of the detailed day-to-day production tasks, it allowed me to play a bigger role in finding and meeting clients and partners—brilliant people doing engaging and impactful work—and collaborating with them to shape the overall approach of new projects. A typical day for me includes talking to potential clients to scope out new partnership opportunities, mentoring and supporting our talented team of producers, working with FableVision’s skilled art, technical, and creative directors to plan resources, and meeting with individual production teams to kick-off new projects and review deliverables. And snacks. Lots of snacks. (Is it snack time yet?)

What sets FableVision apart from other studios?
It’s all about the amazing diversity of people and projects. My FableVision colleagues bring enthusiasm, joy, and thoughtfulness to all our projects. And our clients and partners allow us to create some of the most worthwhile and important products, campaigns, and media that I could hope to work on, whether that’s bringing age-appropriate playful assessment to kids across the State of Georgia, or helping children and parents destigmatize conversations around mental health through an animation and graphic novel right here in Massachusetts.

What is challenging in your role? What is rewarding?
Each of our projects is unique at FableVision, and that’s what keeps them both challenging and rewarding! We have strong, solid processes for all the different types of media we create. At the same time, we constantly refine and customize our tools, approaches, and skills in order to meet specific goals, leverage new technology, and react to user feedback. It’s truly inspiring to see our production teams create so much fun content every day across such a broad range of projects, whether it’s a digital prototype to test a game mechanic, a cute raccoon character for an animation, or music for our latest app.

You’ve worked on large projects like Zoombinis and Quandary! How do you approach projects of that scale, and what’s your favorite part about working on those kinds of projects?
The idea for a Zoombinis relaunch began while I was still working at Learning Games Network prior to joining FableVision, so I was excited to be a part of the team making the game a reality after coming to FableVision. One of my earliest roles was to write the game design document, which required me to have a strong understanding of the original game in order to reverse engineer the game logic. We also made alterations to the logic according to feedback we received from fans of the original and the original game designers: Scot Osterweil and Chris Hancock. The project truly was a team effort between TERC, FableVision, and LGN, and that strong partnership—as well as always honoring the original vision of the game while also modernizing it to maximize its impact of end-users, both those who have been fans for years and first-time players—was truly what made it a success.

Quandary was my first project at LGN, and being able to see the process from both the client and developer sides was very interesting for me. With a game like Quandary, which teaches ethics and perspective-taking through story and a card-sorting mechanism, it’s important to keep the game goal top of mind, along with considering scale, timeline, and other budget needs. In approaching a game like Quandary, the learning objectives and the impact of the game on the user are important to consider throughout the game design process. We’ve received incredibly positive feedback from educators and students, as well as the educational gaming industry through conference awards and talks, which really show the impact that a game can have on teaching social-emotional skills, such as problem-solving and comprehension.

In my role as executive producer, one of the most fun parts of a large-scale project is to map out the overall approach, beginning with an empty slate and blank timeline, and sketching out the components of the project, as well as balancing everything out to meet the needs, timeline, and budget. It often involves a lot of number wrangling in spreadsheets and planning software, but I find it to be a rewardingly creative and collaborative process in its own right.

You have a background in engineering, with a focus on “virtual learning applications.” How has your background influenced your work at FableVision?
I always knew I wanted to combine art and technology in a way that helped inform and entertain. I also knew that I loved creating—be that films, games, or elaborate models of theme park rides. So educational media and technology was a perfect fit. That’s what I specialized in during my engineering degree, where I focussed on researching, creating, testing, and iterating on technology approaches that made a real impact for teachers and students. I’ve always tried to build on that experience and approach throughout my career.

You came to FableVision from Learning Games Network, who we’ve had a strong partnership with for years. What was it like working with FableVision as a client? How was the transition into FableVision’s production process?
I absolutely LOVED working with FableVision as a client. FableVision genuinely took the time and effort to understand and build on the goals of the projects I worked with them on. I think that’s part of FableVision’s secret sauce: each team member that touches a project during its development is empowered, encouraged, and motivated to add creativity to the finished product. It was a natural transition from LGN to FableVision, as I knew the people and mission was aligned with my own.

You’re presenting in a Serious Play Conference panel in June on game-based assessments with MIT Education Arcade and Playful Journey Lab. How are game-based assessments gaining momentum in the edtech industry, and how has FableVision stayed at the forefront of this trend?
Game-based assessments are becoming more popular as an alternative to traditional testing that often takes the stress out of the assessment process. We’ve found that game-based assessments show a lot of promise in their ability to level within grade levels for students struggling with mastery of the standard. There are multiple entry points along the learning continuum to assess the standards in a game.

In designing game-based assessments, FableVision tries to approach them in a similar manner to our non-assessment projects, marrying content and game design. Good games—whether educational or not—inherently assess the player’s ability to perform in the game and provide appropriate leveling, feedback, rewards, and challenges in real-time. That’s what makes games such a great learning tool. And as they are digital, there is huge potential, but also potential pitfalls, with capturing that data and presenting it back to players and teachers. So when designing game-based assessments, we try to bring in our extensive knowledge of game design and user engagement, while adding on the additional assessment layer. 

Formative assessment, in particular, we find is where the benefit of a gaming approach can really shine through and where teachers can get insights into how the kids are doing and provide targeted interventions to help them. We design the backends of our assessment games so they collect data throughout and present that information to educators. The data that we deliver to teachers is always at the forefront of our minds. We are fortunate to have worked and continue to work with incredible partners and clients, in both the commercial and academic worlds, to apply the best practices from researchers, the feedback and insights from educators, and the experiences of players in this field over diverse subject areas and for all ages across a large number of games.

You’re also an avid gamer—both playing and creating! What is your favorite game at the moment, and what overlaps do you see between the work you do at FableVision, the games you play for entertainment, and the projects you complete in your spare time?
I’m currently playing A Short Hike, a delightful and relaxing exploration game that builds a wonderful sense of place and adventure. Like many of the games I play and that FableVision makes, it fuses story, characters, and mechanics to create a fun, uplifting, and moving experience.

April showers bring May flowers! What’s your favorite rainy day activity, and how do you keep yourself entertained while stuck indoors?
Rainy days are always a great excuse to play both computer and board games. I’ve also recently got back into an old hobby of mine: video editing. While I love making non-linear experiences, I also find a lot of joy in the creativity of compiling linear stories.

More About Peter:

Next on your to-read list: Hag-Seed by Margaret Atwood.

Favorite hiking trail: Franconia Ridge Loop Trail, White Mountains, NH—conquered on my second attempt!

Best ride at your favorite theme park: Avatar: Flight of Passage, Disney’s Animal Kingdom.

Public figure you’d most like to meet (dead or alive!): Kylie Minogue.

Favorite word: Omnishambles.

Preferred way to have a cup of tea: PG Tips with milk! (Good old English builder’s tea).

June FableFriday: Shannon Frederick Meneses, Executive Producer at Learning Games Network

An old friend of FableVision’s, Shannon Frederick Meneses has always been devoted to educational media. As the Executive Producer for Learning Games Network (LGN), she has been a powerful advocate for pedagogically-sound games with forward-thinking design and deep roots in educational research.

Over the years, Shannon has helped strengthen LGN’s commitment to broad and strategic outreach, advanced development, and a strong foundation in research. At LGN, Shannon works with scholars like Dr. Lacey Hilliard at Tufts University to insure that students and educators are getting games that are informed by the most recent and trusted research.

“With all of our projects and audiences, we are constantly re-thinking and re-shaping our outreach for our projects and audiences. We regularly conduct market research to expand our knowledge of our audience(s),” says Shannon. “I have found engaging your user base is an ever-evolving process and we continue to find unique and creative ways to reach out and keep them informed and connected.”

Shannon’s work both with FableVision and LGN included the development of the award-winning learning game Quandary, which teaches ethics curriculum to middle schoolers. In this FableFriday, we spoke to Shannon about her work with LGN and FableVision, and learned more about what drives her passion for educational media.

Tell us a little bit about your role at LGN and the work the organization does.
I am beyond lucky to be the Executive Producer at the Learning Games Network. As part of a small company, we all have to wear many hats. My main role, though, is to create, coordinate, execute, and make things happen!

LGN is a spin-off of the MIT Education Arcade. It was created as a non-profit organization with the aim of bridging the gap between research and practice in the field of game-based learning. We build award winning games across a wide-range of ages, content, and devices. At their core LGN's games feature inspiring design, innovative pedagogy, and sound business strategy.

What inspired you to enter the educational media field, and how did you get your start?
It may sound silly, but I can’t remember a time when I didn’t want to be in educational media. I come from a family of teachers, and I was always in awe of what they did.

Growing up, I wanted to find a way to do some good in this world and combine two things I loved: education and media. I had a fascination with TV shows and movies and how they were made. Not only did I love them for their content, but I was also intrigued by the process of making stories and characters come to life.

While studying TV and Film at the Newhouse School of Communications at Syracuse University, I was fortunate enough to be mentored by some of the best and brightest in media production. Hearing their stories and learning from their experiences only furthered my interest and passion for this work. I dove in head first and worked my butt off. Whether I was in a writing class tweaking scripts, behind the camera shooting, or editing footage until the wee hours, I loved and learned it all.

Soon after graduation, I moved to LA and gained experience as an apprentice editor in the New Media group at Disney. While I cherished my time in LA and the incredible relationships formed and expertise gained, my passion was still with educational media. So, I made my way back east and eventually landed in Boston. I continued to build my resume and worked at sound studios and production companies. In 2003 I landed my first project management job at Six Red Marbles. It was there  that I met FableVision’s Technical Director, Brian Grossman!  He eventually moved on from SRM and was hired at FableVision. A little while later, he reached out to me to interview for a producer opening. I was ecstatic when I got the job and I never looked back. I have been in production for 20 years, and I wouldn’t change a thing.

To engage students in ethical decision-making, LGN and FableVision created Quandary, a teaching tool designed to help students 8+ recognize and deal with ethical situations in their own lives. What inspired this game?
The idea for Quandary began with Shelly London, while she was an inaugural fellow at Harvard University. Feeling there was a strong need to create a game that engages young people and helps them develop skills such as critical thinking, perspective-taking and decision-making, she set out to create this one-of-a-kind game.

She brought together a team of experts across the fields of child development, social and emotional learning and game design. That team of experts included scholars from Harvard and Tufts, who devised a prototype that was tested for viability, led by Professor Marina Bers. From there, Scot Osterweil and designers at LGN refined the game. Peter Stidwill, serving as LGN’s Executive Producer at the time, worked with FableVision to bring the game to life.

How is Quandary unique in the world of game-based learning and social-emotional learning?
Quandary has many components that make it unique, from its visual appeal to the conversation it sparks in educators and players alike.

In Quandary, players are captain of a human colony on the Planet Braxos, attempting to build a viable outpost. The story is told through captivating graphic novels, drawing players in as they have to make difficult decisions in which there is no one right answer—just like in real life.

Throughout the game, they develop skills such as critical thinking, perspective-taking and decision-making. While there are a number of games that incorporate these concepts, Quandary is unparalleled, as it addresses these ideas head-on. Quandary also takes it a step further, as it doesn’t represent ethical challenges as black and white issues. In this game, all sides are treated fairly.

Collaboration is also a key component of Quandary. We encourage educators to have students play in pairs as it promotes quality interactions during gameplay. As students engage in the game, they are allowed to replay, gather new information, hear from different colonists, and change their minds, thereby impacting the outcome based on their choices. This ability fosters a deeper level of thinking and the game becomes a catalyst for discussions among players and further enhances socioemotional learning.

What has your experience been like working with the FableVision team?
I might be a bit biased, but  after working for FableVision as a producer, the team is and always will be like family to me.

As a producer, it’s my job to lead projects, organize teams, and keep things on track. I love what I do, but it cannot be done without great partners and collaborators like those at FableVision. They are a joy to work with—true storytellers and an immensely talented team. You know when FableVision is on a project it will get done, and done well.

Scot Osterweil has also done a lot of work with LGN and FableVision on Quandary and other projects. How would you describe working with Scot?
You come to learn that this industry is actually quite small. You start to hear and see the same faces. You surround yourself with the people you want at the table. Scot is hands-down one of those people.

I have been fortunate to work alongside him for a number of years now and in a few capacities. Not only is he a legendary game designer, but he is intelligent, creative, and a true mentor. I remember receiving a call from Scot about the role at LGN. We met in his office to discuss the position. If I recall correctly, we both said it felt like kismet. Even though he’s world renowned, he’s humble and treats you as his equal. He genuinely wants thoughts and ideas from ALL team members. He is direct and deliberate with his ideas and when he speaks, everyone listens.

We heard that LGN and FableVision are heading to New York City this month. What's the occasion?
Yes, can’t wait! Peter Stidwill and I will be speaking about Quandary at the Games For Change Festival on Tuesday, June 18 at Parsons School of Design. We will share our thoughts on how to keep a game sustainable, relevant, and engaging in today’s ever-changing landscape.

Which trends are you seeing in the game-based learning arena that you’re most excited about?
I am a firm believer in trying to reach all learners—meeting them where they are rather than making them meet you. No one person learns or retains information the same way as someone else. Unlike traditional teaching methods, game-based learning has a unique ability to address numerous learning styles at the same time.

While at LGN, I’ve had the opportunity to work closely with Lacey Hilliard of Tufts University and accompany her on a research study here in Boston. Helping conduct this study allowed me to see collaborative learning first-hand. Students were actively engaged in the game—they were sharing their ideas, all the while learning and retaining valuable new skills.

What excites me most is hearing and seeing players when that lightbulb goes off.  I am eager to see what the future holds as game-based learning continues to become an integral part of education.

Favorite FableVision project: Without hesitation, Lure of the Labyrinth. It was one of my first days at FableVision when then Executive Producer, Karen Bresnahan, handed me a huge project binder and said: it’s all yours. I couldn’t imagine what I was getting myself into, but Labyrinth quickly became and still is one of my favorite projects, ironically with MIT’s Scot Osterweil at the creative helm.

Labyrinth was a large undertaking spanning multiple years. It’s a true testament to what can be done when you get a top-notch team of creative directors, writers, artists and developers together. As a producer, it’s not always easy to keep a team motivated and on track over a number of years, but this team just worked.

We heard you like to sail. Where’s your favorite place to travel to by boat and why?
Yes, it’s true, but it’s been ages since I’ve sailed like I used to. Favorite place to travel by boat: Cape Cod. Although, I used to have dreams of joining a crew and sailing somewhere exotic and just going completely off the grid.

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More About Shannon

Favorite dinosaur: Have to give a shout out to one of the smallest - the microraptor. Although, my children love dinos, and they’d be sad if I didn’t mention the T-Rex.

Go-to vacation spot: I actually don’t have a go-to spot. When possible, I really like to choose new destinations and my kids are always in tow.  Last year was Ireland. Discussions for the next trip are in the works—any recommendations?

Favorite dish to cook:  Hm, too many. I’m an avid cook (and baker) and time permitting, I like to try new things. It’s rare that I use a recipe. If I did have to choose, I’d pick my grandmother’s homemade ravioli and meatballs. There’s nothing more gratifying than looking around my kitchen after a day of cooking and baking, knowing I did it with my own two hands.

New skill you would like to learn: Play the steel drum. Stay tuned, I start lessons this month!

Favorite cartoon character: Curious George.