What's The Story Northern Tory?

101

The colour palette of my game can be attributed back to the same reasonings for
this process’ book’s design rationale. The palpable lack of red, with it only being
seen on the ‘lowest’ value cards, allows for the blue to become overwhelming -
forcing you to face this problem (conservative austerity) head-on. I toyed with
the idea of each suit being a varied colour, as per English playing cards. However,
to remain true to the Swiss playing cards, I decided to choose a palette of my own
and stick to those shades throughout. I chose a muted tonal palette again as to
not be overtly political - relying on upon used colour-association to divide and
segment beliefs.

fig. 18 my initial hand drawn logo iterations. $LIFE KILLS KIL

LLS.$ IFE

G $LIFE KILLS

fig. 19 a few digitised versions inspired by the
hand-drawn logos..

When tackling my logo, I began by drawing some iterations
by hand. I wanted to maintain a playful element to the logo
while remaining thought-provoking. I trailed playing with
the iconography of prison bars, to show the entrapment of
neoliberalism, as well as keeping the logo minimal as to emphasise
the game concept more.

102

I decided to go with my final iteration as it presented several meanings blurred
together. The idea was that the most ‘true to you’ version of the name jumped out
first. The logo can read “Life $kills” with the dollar sign as the ‘S’, or as ‘Life Kills’
seeing the dollar sign as a design element, or ‘Life ($) Kills’ seeing the dollar sign as
a reason for life killing. All three are an innovative way of portraying the aim of my
game without saying it outright. This is why I ultimately decided upon a disjointed
logo.

FINAL LOGO DESIGN: Helvetica
- regular

Lynstone
- bold

I used the same fonts as my process book, Lynstone and Helvetica. I did this as I

>>believed them to be a clean pairing that grabs your attention while being clear.

103

To accompany my branding, I produced my card box. I wanted my branding to be THE
heavily inspired by my colour palette, with the rhythm and balance of my process
book. My entire project is meant to be a guided journey CARD
through your own political value system. I also did not
want the box to be overtly political. I wished for it to be
enticing and want my user to pick it up and play with it.
I included the call for action ‘It’s Time For New Thinking’
that I began my process book with, as I hope for this
game to prove an easy way to catalyse this productive
conversation about future thinking.

I also produced an instruction manual to go alongside NEOLIBERALIS GTAAMKEETOHNATOPURROPVAIIDNEFSUAL
Life$kills. I introduced my game with excerpts from M CAPITALISM AUST
it (see pages 89-93 for excerpt). I was sure to detail ERITYA4NgPEelsOay8Le+rIsBERALISM CAPITALISM
the reasonings for this game, as well as outlining the
conceptual elements and why they’re important. I PLAYFUL
kept the branding also consistent with my colour REALITY.
palette.

104

105

I produced an instruction manual that broke down the concept and mission of my
game, as well as the instructions. (see pages 88-93 for full instruction text)

106 W
T
suit analysis

In order to pay homage to the original set of Swiss cards, I
maintained their blueprint as my base. However, I moulded them
around my subject. This allowed me to make more engaging suits to
accurately represent the neoliberal cycle of injustice.

Having the cards be reminiscent of playing cards, Swiss or otherwise,
helps play upon semiotics. Based upon, also Swiss, linguist Ferdinand
de Saussure’s theory of semiotics, in which the sign is the physical
object that is tangible, and the signifier is the association we have
attributed to it through our societal ideas and values (Chandler. D,
2017). The sign can firstly be the card itself, however the signifier,
in which the player will automatically attribute to the sign through
societal and ideological factors, forms their association with what
that sign means to them. A playing card often attributed itself to
play, and collaboration - my two focal pillars in my project. It also
already represents a ‘safe’ space in working-class culture, with pub
games and cards a staple part of many nights. This civil platform of
communication will also allow for politics to transcend the binary
‘left’ and ‘right’ limitations.

We can also look deeper into this theory and see that many will
also have a relationship with the iconography on the card. The sign
- depiction of polarising figure - remains the same but the signifier
ultimately lands on the player and their experience and values
associated with that individual. When playing the game, the nature
of play will allow for conversation to be geared towards why these
three men are depicted on the cards in these positions - creating
a space for communication. With each individual experiencing
the cards in a different manner, the wealth of possible political
conversations is endless.

LWEA107

TH.

Each suit corresponds directly to a Swiss suit, and they maintain an element of
iconography from the original cards.
Although the majority of the game is framed for the UK, I have included Jeff
Bezos as well as Donald Trump to help represent neoliberal figure heads. This is
simply to aid the players of the game to make these meaningful attachments
regarding the concept of neoliberalism and the capitalist class elitists.

I paired my ‘wealth’ suit with the FO108
original decks ‘bell’ suit. I decided to
produce a cash note as the symbol as
it worked well with the rhythm and
balance of the bell’s card designs.

When I originally began hand drawing O
my cards - I placed Donald Trump as
the Köng [King] however, after further
iteration and input from my step-
mother, I decided it fitting for Jeff
Bezos to be placed as King - due to the
recent news that he will be reaching
trillionaire status soon. This insane
amount of wealth belonging to one
individual was something I believed to
be important to highlight.

This is why I placed one trillion as Ace,
it’s nearing a time in which we will
have to normalise businessmen being
trillionaires. It is important to bring
awareness to the incredible sum of
money this truly is and how steep of an
incline the Capitalist class are growing
from the working class.

For this suit, number 7 took the form of
‘Universal Credit’ - as aforementioned
in my instructions, my number 7’s took
the form of the welfare systems in
place. Although they are suffering from
years of tory austerity, I took this time
to highlight the help these systems
offer us [or could offer us]. As the
‘chameleon’ or ‘helper’ card - it seems
only fitting it be the systems made to
help the vulnerable that represent that
element of my game in our neoliberal
society.

109D.

The Wealth suit helped me produce
a cohesive branding for my game. It
allowed me to experiment with how
and in what way I wanted to reference
the original cards in relation to
neoliberalism.
With the food suit, I decided to
follow the original card design a lot
more literally. I replaced the acorn
suit with my food suit, opting to
maintain the Oak leaves as I believed
they complimented the elements
the most. After much deliberation,
I decided to segment my cards into
iconic ‘luxurious’ food categories.
Although, it does not directly call out
the disparity between the classes -
these iconic food items are long used
tropes in which to outline the disparity
between the classes.

110

I found it rather important to highlight of a loaf of ‘value bread’ , although he
not only the privilege in accessibility gives the answer of 50p, he distances
that the capitalist class have in relation himself from the concept of ‘value’
to nutrition, but the stark contrast in food suggesting that although value
the flamboyance of our dishes. There food is alien to him, naming the price
are countless interviews with Boris of a bottle of champagne would be
Johnson in regarding his standing in second nature (The Telegraph, 2019). It
society. Prior to the December election highlights the clear divide in the class
, there was a worrying interview in system and exposes the desires of the
which he exposes the fact he simply upper class to maintain this disparity.
does not know the price of a loaf of
bread - instead he brings incivility into Our Prime Minister’s performative
the conversation and suggests that pandering to the working class of
maybe if it were one of his oppositions England is quite transparent when you
‘expensive’ breads from the bakery it see how far away from reality these
may cost £20, completely dismissing wealthy elitists are. I maintained my
the question after floundering for an notion to keep the 7s as welfare states,
answer. He ultimately suggests a more this time food banks. I was sure to make
reasonable answer at the end of the the card highlight the uncertainty of
interview - however the performative food banks however, showing how even
nature of him using this idea of a loaf though these welfare systems are in
of bread as a weapon to attack his place, does not mean they’re working at
Labour counter part, deflecting the their best capacity and aren’t suffering
‘upper class’ label onto him, it shows from years of austerity. These are still
a clear lack of understanding or at the ‘low value’ cards and are not thought
very least, class (The Telegraph, 2019). of as a priority by the higher capitalist
There is also the iconic interview in class cards.
which when asked to name the price

111

“How much is a loaf of bread?”

“It- urh - I-uh, dep-depends how
mu-, what in the , it is a very
expensive London loaf it would
- it cou- it pro, Primrose Hill if
I- if its one from Ed Miliband’s
local bakery in wherever...
Tufnall Park of wherever he
lives...it’s probably about
twenty pounds...”

“...w-well anyway I mustn’t”
“[interviewer] do you buy value
bread”
“I don’t, I could tell you the
price of a bottle of champagne”

fig. 17 , 18 screenshots of Telegraph interviews in which Boris spoke
on bread price - along with transcript of interview section.

INF112 ORM
Being the most abstract suit, I hoped to highlight the
privilege there is in access and control of information. AT
In this day and age, information is swiftly becoming
a currency on its own. Huge-scale wicked problems
such as Covid-19 as well as the recent coverage of
the black lives matter movement sparking up after
George Floyd’s untimely murder are being distorted
by capitalist class funded media to prolong the
neoliberal regime that is failing before our very eyes.
We have seen the recent peaceful protests being
branded as ‘violent’ to deflect the blame away from
these institutions harbouring the very systemic
inequality we’re protesting (westlanduk, 2020).

The media we knew before as a ‘reliable’ source of
information fails us every day. For this reason, I was
sure to have number seven represent the internet
as it democratised education somewhat. This is due
to the massive impact on individual thought that
the internet has offered us, of course, there is a
certain privilege to even have access to the internet,
to begin with. However I cannot ignore, the huge
impact this open-source hub of information has had
on progression forward. The internet is a hotbed of
bias and fake news also, I am not ignoring this fact.
However, the internet is so vast is enables people
to manoeuvre through global issues and educate
themselves on the great sufferings of others enough
to build a valid personal response. The capitalist class
figures highlight the mass control and monopolies on
news and media that these elitist individuals have.
I wished to highlight the growing need to actively
question what you’re consuming.

113ION.

I found it difficult to segment my suit
into nine individual ideas. It stunted the
development of my project somewhat
- as I found it hard to equate a role to
each card. I ultimately disregarded the
idea that each card had to be a tangible
element of society, the concept of the
elitist capitalist class getting the ‘best’
and ‘most’ of societal resources, especially
when handed up to them from the
‘working class’, is enough to portray my
message of disparity and the movement
of stolen wealth in this country in its
many forms.

My main areas of iconography here
were ‘university’, ‘social media’ and
‘newspapers’. These three visual cues can
help with the flow of conversation as they
allow for the discussion to be directed
into these avenues of information - where
there is a need for change.

I believe for a sustainable future, our
education systems must be freed of
capitalism. Education should not be a
thing only for the wealthy alone - it is
systemic injustice, a method of detaining
the ‘lower’ classes and maintaining them
in the social setting they are.

T

HEA114
L

TH

L 115 A

The final suit was access to healthcare. I produced these RE

Calong the same vein as the information suit - being that

not every single card has a distinct relevance, more so
the idea of access and privilege in our society and how it
manifests through special treatment, early access, the
ability to form monopolies of medical supplies and being
able to obtain the best treatment.

These are all factors that ultimately can contribute to
lifespan, quality of life and general wellbeing. It shows
these systemic roots of injustice manifest themselves
in more than just economic poverty, but sometimes in
emotional poverty. The limitations that working class
communities, especially POC and other minorities,
experience in a neoliberal society.

These areas of neglect often contribute towards more
serious health conditions, more likely to suffer at the
hands of climate change, less access to healthcare, money
limiting their ability to live a ‘wellness’ lifestyle and just a
general shortened life span. When we deep dive into these
concepts it’s harrowing to find the sheer expendability
of the working class to the capitalist class. It shows the
workings of a neoliberal state - although the Labour
class produce all the wealth in the world through surplus
labour, the capitalist class still hold and maintain this
wealth, instilling fear of death if you question, as your
job becomes the reason you can live - making it almost
impossible for the working class community to breach
these prison cells of classism.

The healthcare state is something highly discussed at the
moment due to the polarising nature of our pandemic. It
is clear now more than ever, that healthcare should be a
universal right - and the notion that you’re only allowed
to live if you can afford to is so cold I refuse to accept it
when we move forward in society. Number 7 in this suit
was of course the NHS, who are currently struggling due
to our neoliberal ideologies chipping away at its core. I
believe it is important to include a reference to public
healthcare regardless of the player’s location, as it is a
necessary discussion for the future going forward.

USE116
R

TES

117

R

TI NG

118

Due to the limitations presented by lockdown, I
was unable to conduct a wide user-testing group.
However, I did supply my cards to my family to play
with and provide feedback.
I gathered their feedback after a few days of them
playing to see where the success lay and where the
pain points I needed to focus on were.

119

SUCCESSES: From their feedback, I was able to
gauge how to further my project
• Replayability in the future when I do present it
• Entertaining to the public. They concluded on a
• Easy to converse positive note, suggesting the cards
alone have a collectable charm
while playing about them - and accurately portray
• Attractive the aim of deconstructing the
• Cohesive neoliberal cycle simply.
• Nice size
• Nice branding These user insights were very
• Not offensive, interesting and will be taken on
board when
appropriate satire producing this game futher in
• Collectability later stages. However, due to the
• Unique nature of lockdown I was inable
• Displayable to contact and user-test my game
with those who are older working
PAIN POINTS: class conservatives. Moving forward
I shall be conducting user tests on
• Line weight may be many of my target user.
too thin for all paper

• Colours very similar
• Possible other games

cards can be used for
that I can include
• Directions for what
best to print on at
home

120

5.

PROJECT MANAGEMENT, RISKS
AND FUTURE THINKING.

FUTU121 RE.

RISK MANAGEMENT.

It is important to address any potential risks
involved in the creation and implementation of
a game like this. Since politics, especially in this
age, are increasingly a volatile issue, a game such
as this that can initiate difficult conversations
that could pose some risks to the players. It can
be a vulnerable process to express your genuine
thoughts and feelings especially if they are
considered to be outside of the norm of society.

This card game seeks to expose the flaws and
violence of neoliberalism and its tools in a way that
can be shocking for those who have never been
confronted with opposing views. For this reason,
a game such as this could lead to the polarisation
of political beliefs, or even contribute to the rising
‘cancel culture’.

However, the nature of the game is such that to
overcome these differences by leaning towards the
similarities that we can find between ourselves.
Cultivating discussion between individuals in
order to find collectivism in a society that seeks
to separate us into individuals is the ultimate
aim of a game like this. To see that the system of
neoliberalism is inherently unjust and exists in a
way that resists any accountability and therefore
is difficult to break out of – the aim of the game is
to find hope that a better system can emerge and
be implemented.

122

BENCHMARKING:

When creating my game, I found inspiration in many areas - especially YouTube.
There is a rising space for these healthy political conversations. Two creators
that predominantly do this are ‘Jubilee’ and ‘Cut’. The content is entirely human-
centred. Focussing on storytelling and empathy.
There are several videos in which they address topics similar to mine. I used them
as a means to gear my game’s aim around this type of healthy conversation.
One element of each video that became apparent was that when those who
are debating are professionals in their field educating the ill-informed, the
conversation is a lot healthier as there are fewer means for volatile language - the
discussion is grounded in fact.

fig. 21 screenshots of Jubilee video facilitating
a conversation between pro lockdown and anti
lockdown values in the US. They brought Doctors
and scientists to help aid with factual debate.

In order to place my game within the margins of the market, I have arranged
similar card-based games intended to facilitate dialogue. ‘Cards against humanity’,
arguably the most well-known of this genre allows players to complete scenarios
that can be unrealistic within a realistic framework.

123

Confessional

We’re not jubilee
really
strangers. Political

Personal Cards against
humanity
Cut

Conversational

‘We’re not really strangers’ allows people to open up to each other and really
express their own thoughts and feelings relative to the other players lending it a
confessional streak.

‘Big talk’ is similar in this way that it prompts thoughtful conversations between
friends that may be otherwise difficult to approach.

The ‘Jubilee’ and ‘Cut’ series on YouTube allows a more unique perspective where
it shows the differences of opinion of similar groups of people as well as facilitating
tricky political debate.

Whereas Life$kills allow similar facilitation of meaningful conversation prompted
not only by the rules of the game but also the imagery on the cards themselves.
The concepts behind the suits and the characters on the cards stimulate the
players to think big about the state of society.

124

COLLABORATION AND TEAMS.

Unfortunately, due to the limitations of lockdown and personal
chaos making my major project hard to focus on, the vast
majority of this project was done by myself.
Although I did contact and begin discussions with fellow DMC
students about collaborating, the struggles of lockdown made
communication hard to maintain. Therefore, I respected their
personal struggles with the pandemic to be more important
than aiding me with this project.
However, although not consistent team members, I did have
some valuable input from many creatives and individuals that
I discussed and ideated with along the way. I utilised my peer
circle to discuss ideas and had the input of my creative director
parents with how to bring about an authentic adaptation of my
playing cards.

125

fig. 22 excerpts of interactions that have helped me along the process of this project journey.

I mainly utilised tools such as WhatsApp, Google Docs, Trello, Notion, Slack,
Zoom, Instagram and Twitter. The prevalence of Social Media became apparent to
me during this project, with most of my favourite insightful discussions occurring
through prompts presented on social media.
Although I did not have a solid team, I value all the slices of insight I have
managed to cultivate from my peers and those who are suffering at the hands of
this system.

126

FUTURE THI

This project is only scratching the surface of such a wicked problem. I am aware
this is but a small step in progressing the conversation further to bring about
real change. I began to plan my next steps for ‘Life $kills’ and decided upon the
concept of producing an online platform that is free from the pre-assigned
virtual incivility that social media platforms host. I wish to provide further
means for facilitating healthy political communication moving forward. I want
to be able to provide prompts that address those uncomfortable questions,
but refreshingly and creatively. I do not want people to pre-assign themselves
a personality depending on their political party. I want to provide a place where
people can discuss their vision for society, as this discussion is far too nuanced
for that of rigid political boxes.
I plan on putting making my game of ‘Life$kills’ either integrated into the web
platform, allowing the game itself to become increasingly more accessible, or
have a downloadable transfer link so that those visiting the site can access the
game from their own home. This would allow many more individuals to experience
and engage in further stimulating conversation.

127

INKING:

This would also make the game open source, whereby anyone can have access to
this toolkit for this political storytelling. Through a system where the game can
be printed off at home, this allows the project to maintain its sustainability by
removing the potential waste of mass production.

However, there are risks involved in the management of a project that aims
toward both open-source iterations and sustainability. There are considerable
costs to a venture that doesn’t produce independent revenue. To overcome
this, I shall supply a donation option for those who wish to help us maintain our
platform and research, as well as selling more polished, professional versions of
the cards that can be ordered for those that wish. These profits would then
be used to back production and maintenance costs as well as facilitate further
research and development.

The speculative platform will further my research into the art of personal
storytelling. I wish to move my sorting card concept onto the platform -
ultimately becoming the safe space that facilitates healthy political conversation
through the wealth of toolkits on offer. The redistributed value stream will take
the form of individual actionable change - we need a change in society, if Life$kills
attribute itself to the likes of Capitalism, there is no change.

TE MOCKUPS. WEB1S28 ITE MOCKUPS. WE WEBSITE MOCKUPS. WEBSITE MOC
S. WEBSITE MOCKUPS. WEBSITE M
I produced mock-ups of both
my website homepage and
interactive card game page.
The design is heavily inspired
by that of my cards - having
a variation of the back of my
card design as the opening
welcome page. I used symbols
that were similar to that
of eastern design, with the
simplistic elements having a
soviet tone. This is to add the
ideas of socialism alongside the
heavy projection of blue that
represents the conservative
values.

BSITE MOCKUPS. WEBSITE MOCKUPS.

EBSITE MOCKUPS.129WEBSITE MOCKUPSITE MOCKUPS. WEBSITE MOCKUPS
EBSITE MOCKUPS. WEBSITE MOCKU
• Clickable portal that will
take you to the online
card game alongside
discussion prompts.

• Interactive card
background that
can flip to reveal
elements of the
website, as well as
prompts.

I wanted my website to be interactive in itself as this way, even with the hurdles
that lockdown presents, people can connect physically through the aid of digital
collaboration. I shall implement a chat feature so that even those on other sides
of the world can use these toolkits to facilitate a healthy political conversation.

. WEBSITE MOCKUPS. WEBSITE MOCK

tbhuesinneewss130
model canvas.

When approaching a business model such as
mine, there is a need to reshuffle the way we
view our current value system. For my project
to remain authentic, I wanted to separate it
from the capitalist model, making it open-
source and free-for-all. I believe it’s very
important to instil fun in pursuing education,
something that capitalism snuffs out through
discrimination and large fees accompanying
academia.

I believe when we approach business’ in the
future, ideas such as profit and growth could
fall back in the hierarchy of needs. On 19th
August 2019, 200 capitalist-class industry
leaders met in New York at the ‘Business
Circle’ (Sutherland. S, 2019. p.24). The idea was
to ideate a way in which we can reorganise
our current business’ hierarchy of needs.
They ultimately came to a finding of putting
the well-being of their employees, suppliers
and the environment at the forefront over
profit. Profit now only comes in at number
5 (Sutherland. S, 2019. p.25). Amazon CEO
Jeff Bezos, and Virginia Rometty of IBM were
present at the meetings.

131

132

I produced a new business model
canvas for my game as well as factoring in
my future platform. I made sure to
include the feasibilities of a project such as
this, and how we shall tackle this new form
of value.

The ‘Reshuffled Value Stream’ now
accomodates for user experience
rather than profit. The core value to our
business model will be bringing about
sustainable, and necessary change in
mindset.

133

134

6.

FINAL THOUGHTS AND
IMPROVEMENTS.

135

reflecting on my major project journey.

This project became a very personal project to me, as it had me facing many
issues within my own life that I found a struggle. In the society we live, we have
become more and more individualised, valuing economic growth above the
livelihoods of others. There are systems in place that seek to maintain these
ideologies and to keep people content with the systemic injustice of today. My
mission was to provide people with the tools to recognise the vast disparity in
our current society through iconography and satire that the player can identify
with and thus engage in meaningful discussions about their opinions and values
with others.

My project focused on the areas of northern and midland England that have
begun to align their politics in a way that widely doesn't benefit them, but the
prospect of change is something that is resisted. Life$kills enables people to
understand the root causes of the things that they believe trouble them, by
providing an avenue to conversation and understanding. The Conservative party
have historically neglected the north of the country as well as the working class
that dominate the demographic of the area.

Yet, as I've outlined, many of the population have begun leaning toward the right
of electoral politics in Britain. Threatened by the evolving opposition of the left,
these tensions have increased and caused a political polarisation that can only
be fixed through a medium which all individuals can access and understand.
The card game is a universal concept, and this card game prompts the players
to think deeply about the state of society as well as their own identities within
that. Through this, they can seek to understand why they feel the way they do
about the systems that dictate our lives. Through trying to ensure sustainability
in practice as well as development, my game can testify to its own ends by being
accessible to all groups of society, so anybody’s voice can be heard.

136

areas for improvement:

As my project is so topical - I have many areas I wished to
delve deeper into if I had the means. The framing of my project
has firstly centred around England, however, the problem of
systemic injustice is global. If I were to expand on this project, I
would broaden the reach of the sentiment - as this is a problem
that needs addressing by the masses.
Along the same vein of this, my project mainly focussed on the
class system in it's broadest sense. I would like to devise a way
of deepening the project to expose this injustice in a far more
detailed way. There is vast racial discrimination within these
systems. Those who are most affected are black and other POC,
though I was sure to address this, my thesis especially covering
the sheer racial injustice that neoliberalism thrives on, my major
project failed to address these issues in the depth they deserve.
The lack of a team also took a tole on this project, although I
initially had team members - the issues with COVID-19 made the
ability to collaborate on a project such as this rather difficult,
due to the lens mainly being that of England. This alone made
the workload quite overwhelming.
I also believe that due to the pressures of lockdown, alongside
the personal issues that presented themselves to me during
this time, took an impact on the overall success of this project.
I found myself being negatively effected by immersing myself in
my project when the world was so topical.

FINAL137 NOT

Overall I am proud of my work throughout
our final year of DMC. I believe my scope
of interest has become more refined,
and this translated into my work. With
more cohesive design skills alongside my
understanding of where I wish to focus
my abilities - I can say my overall skillset
has been both expanded and honed
throughout my time on DMC.

I could not focus my time on university
this year as much as I'd have liked - due
to amazing work opportunities I wanted
to grasp to my full potential, as well as
personal struggles making university take a
back seat. However, I still feel as though the
briefs and seminars we have had allowed
me to have the guidance to distribute
my work alongside my busy life schedule.
This project was a large undertaking, and I
admittedly was swallowed by it at times.

Although it has taken twists and turns,
and sacrifices have had to be made for the
overall product - the result is something
I hope to continue with in the future and
push to becoming a part of the bigger
change we need to see in the world.
ES.

KI 138

LIFE $
LLS

139

IT’S TIME FOR
NEW THINKING.

BIBLIOGRAPHY BIBLIOGRAPHY BIBLIOGRAPHY

141040

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