Following the Montreal Canadiens throughout the season, this series focuses on the lives of players and executives in Montreal and abroad. With its privileged access in ordinarily closed locations, 24CH will reveal to the public, as never before, behind the scenes of a hockey team. The audience will have a chance to better understand who these men are, who, day after day, live only for one thing: to win.
Pinnguaq is proud to announce Singuistics. Learn traditional and original songs by Inuit musicians in a fun, three-step program. Experience the music alongside illustrations by Nunavut’s best artists. Practice singing the songs yourself to improve your pronunciation of Inuktitut words and phrases. Then, once you’re ready, record your final performance and share it with your friends!
For both new and existing Inuktitut speakers, Singuistics is a fun way to immerse yourself in the language and culture of the Inuit people. It will serve as an excellent introduction to one of the richest and most unique cultures on the planet, while at the same time provide a useful tool for Nunavut and Nunavik parents, daycares and schools who wish to complement their Inuktitut and cultural lessons with an interactive element.
Explore an immersive world of inspiration and wonder with MERIDIAN VR. SESQUI’s free app hosts six original, interactive virtual reality stories, featuring Canadians who are shaping their world through creativity. Linked through a central menu space that evolves as the user views the content, MERIDIAN VR pushes the boundaries of participatory storytelling through immersive media.
Pinnguaq produced most of the experiences in Meridian and created the experience container and user interface.
The Atii Game Show has been developed in concert with the community of Arviat, Becky Kilabuk (Pangnirtung/Iqaluit), Qaujigiartiit Health Research Station (Iqaluit) and The Embrace Life Council of Nunavut (Inuusiq). It is a series of mini-games, each with a focus on fun and a message around healthy eating, and physical and emotional well being. The games are quick (and get quicker as the game moves on), and will provide an intense, fun experience modeled after games like Dumb Ways To Die, Frantic Fingers, and Wario Ware.
The Atii Game Show began development in 2014 and paused after initial development began. It begins again in 2017 with the support of the Embrace Life Council and will see release in early 2018.
Aeroplane is a 1972 print from Pudlo Pudlat of Cape Dorset. It was made into a Canadian postage stamp and tells the story of the introduction of the Aeroplane to Nunavut. When Aeroplan’s arrived in Nunavut communities, it was a community even. The game we created around Aeroplane is an endless runner.
Using only assets from the original print, the user takes control of the “yellow shirt” man and races along the ice floes, trying to stay ahead of the planes. The user must navigate tricky jumps and avoid splashing water which will induce a “hypothermia” effect in which the screen blurs. Score is tracked by how long you can stay alive. Allowing the plane to get ahead of you, or falling in the water, ends the run.
Imposed Migration is a 1981 print from Pudlo Pudlat of Cape Dorset. It contains four simple images. A helicopter, a Muskox, a Polar Bear and a Walrus. The three creatures are hanging from the Helicopter. This print, like the others Pudlo created tell the story of the introduction of machines to the North and his experience seeing the forced relocation of both his own people and the animals they had lived in harmony with for many years
The game we created around this print is a helicopter pickup simulator. Users are tasks with flying a Helicopter over open water, pulling animals away from broken ice and bringing them to a central location. The user must balance the weight of each animal as the Helicopter can only hold so much, and they are racing against a setting sun. The goal is to get as many animals as possible to safety before the sun sets.
Brave, bold and benevolent, Polarman is a real-life superhero. This piece tells the origin story of Iqaluit's beloved, masked anti-bullying crusader, through an interactive mix of 360 video and comics drawn by Canadian artists Daniel Day, Leisha-Marie Riddle and Andrew Qappik.
Polarman was filmed, directed, produced, and programmed by Pinnguaq in conjunction with the Sesqui: Meridian project.
Indigenous art comes alive in an animated mural created through a collaboration between students from the First Nation of PIkangikum, Ontario, artist Michael Cywink and filmmaker Amanda Strong. Interactive animation vividly brings to life traditional Ojibwe teachings.
Pinnguaq created the technology that powers it all and turned into a unique interactive piece that is as engaging from a storytelling perspective, as it is technical.
Qalupalik is an original stealth/suspense video game being developed by Pinnguaq
Inuit Mythology tells us about the Qalupalik (Qaluppiluik or Qallupaluit, depending on where you're from) who live under the northern sea ice. If children get too close to cracks in the ice, they risk being kidnapped and taken away to spend the rest of their days as the playthings of the Qalupalik.
Players will venture out into the ice of an early Nunavut spring in an attempt to rescue a kidnapped sibling, taken by the Qalupalik. Players will use stealth, traditional Inuit weapons and just plain guts to see their way past the horrifying creatures of legend and safely to their brother's rescue... assuming such a thing is even possible.
I don't know anyone who has ever come back from a Qalupalik kidnapping, do you?
Many Hats is creating an arm wrestling video game for an upcoming APTN series entitled Arm Nation, which focuses on the training, competing, and life challenges of a group of Indigenous people competing in one of the world's oldest sports.
The game is currently in production but will be released on Mobile in conjunction with the release of the television program in mid-2018.
Journey into Fantasy is a 1986 print from Pudlo Pudlat of Cape Dorset. It shows a fantastical scene that combines various elements of both past and present Inuit life. Aeroplanes are seen strapped to the back of qamutik and being flown into the sky by fish, over fields of ice. It is a genuine Journey into Fantasy.
The game we created around Journey into Fantasy is an action/runner style game in which the user can switch between the two realities created by Pudlo. The user progresses along the water and must either duck under the water or fly above the various icebergs that populate the screen. The user is tasked with balancing oxygen (for use underwater) and fuel (for use when flying above) and has to balance collecting additional supplies with avoiding the obstacles
A 360° documentary. Experience the aftermath of a diesel spill near the First Nations community of Bella Bella. See how the spill has affected one family — join a family dinner of seafood gathered before the spill, which will change the way the community eats “for who knows how long.”
Shaman’s Domain is a 1986 print from Peterloosie Kappik of Pangnirtung, Nunavut. Shamanism was an important religious practice pre-Christianity and it led the way Inuit communities ran and functioned. Shamans were of key import in a community and this picture depicts a time “pre-contact” and the beauty of the culture at that point.
The game we created for Shaman’s Domain is a narrative adventure. It tells a deeply personal story that travels through a variety of different game mechanics to tell a story of the introduction of Christianity and the “taboo’ing” of traditional shamanistic practices. The user starts by tapping the drum on the screen until it shatters the print, and then progresses through 4 unique interactive experiences to bring the print “back to life”. Through a fire puzzle, the user re-lights the “Qulliq” (traditional lamp), through a tracing game they bring back the drum and through a side scroller the user brings colour back to the world and reforms the print.
Rewarded for a Successful Hunt is a 2011 print from Poena Keyuryak of Pangnirtung. The print, as told to us directly from Peona who helped developed the piece we prepared tells the story of his grandfather who was a Shaman. It combines transformation and imagination to tell a story about around belief, the land and food. It features a large bird creature that is greeting the protagonists after a successful hunt. Peona explains that often hunters would be surprised by these spirit creatures on the land and it would lead to conflict, before finally understanding as it is revealed they are there to help.
For the game for “Reward for A Successful Hunt” we rely on this initial conflict and confusion to tell a story. Leaning on ideas like Shadow of the Colossus, this game has the player performing strategic jumps to climb the body of the gigantic bird creature and disable it. Timed jumping sequences and strategic timing and maneuvering make this a complex and entertaining game that ultimately leads to understanding.
This extension will automatically replace any Inuktitut syllabics with Roman orthography on websites you visit.
Inuktitut syllabics were adapted from Cree syllabics in order to translate the bible, and over time, became the dominant form of writing for Inuit people. In the last year, the Government of Nunavut has announced it wants to move away from syllabics in the education system, as recommended in a March 2015 report by Inuit Tapariit Kanatami, the national Inuit organization.
In addition the the touch screen gaming experiences that we have developed, we have also created a VR interactive experience around the 1972 print, “Aeroplane” by Pudloo Pudlat of Cape Dorset. In this piece the user is placed in the middle of an art gallery, the various prints of “Art Alive” hanging on the wall. Outside the window the user can see elements of the print “Aeroplane”, fully rendered and in game.
After a few minutes of exploring the room and interacting with various objects from the Aeroplane print, the room starts to flood and the user is placed directly in the centre of the Aeroplane print, brought to life. The mountains stand in front of him, and behind him the Aeroplane from the print appears in full 3D and passes overhead and moves behind the mountains. The print is alive and through narration by our own Ame Papatsie, the user hears the history of the piece as it moves around him.
There is no margarine for error, bring on the grapes of wrath. In ‘Food Fight’, surrounded by angry chefs, take a stand against big food. Apples, serve as your core weapon - making disabling enemies apeeling. Watermelon will leave your enemies seeded with pain and feeling meloncholy. Give peas a chance. Use these nutritious green pods as burst weapons and give your enemies a peas of your mind.
On the Gear VR, Food Fight combines action and strategy to create a real pizza work. Romaine calm in the face of udder chaos and gouda luck!
The spirit of water is alive in British Columbia. Acclaimed B.C. designer Marian Bantjes collaborates with B.C. electronic musician loscil, to create a dazzling, interactive geodesic sphere composed of looped video segments of different kinds of water, accompanied by an evolving, generative soundscape that changes as users look around the space.
Pinnguaq and Sesqui collaborated to bring this idea to life.
Using all of the prints listed above we have also created a classic take on “Spot the Differences” type of game play. Intended and available both for gallery installations in which the original print is available as a comparison, or as a dual screen experience in which the original print is compared to a randomized series of differences that are procedurally generated by the system. The user has three chances to find at minimum, five differences. Each of our prints listed above is available as a spot the differences game.
Each experience is different and each time the game is started, it is a new series of differences, but the challenge remains. A timer is in place that slowly works it’s way down (each user has 1 minute to spot five differences), and for each error the user makes, they lose 5 additional seconds. The entire experience is complimented by lessons about the printmaking style, form and artistic process.
TIFF, imagineNATIVE, Pinnguaq and the Initiative for Indigenous Futures worked together on the joint project 2167: an innovative virtual reality and immersive media series. Six Indigenous filmmakers and artists have been commissioned to create six VR projects in 2017, with each artist asked to set their work 150 years in the future.
Award-winning filmmakers Jeff Barnaby, Danis Goulet, Alethea Arnaquq-Baril and Canadian artists Kent Monkman, Scott Benesiinaabandan, and the interdisciplinary arts collective Postcommodity will each create their own vision of the future in a two- to four-minute long virtual reality experience.
Pinnguaq acted as the Producer for Danis Goulet's film, The Hunt.
LeTV approached us to bring this wonderful game to LeVR platform.
Mega Spacehole is a fast-paced vr-cade shooter with in your face fun. Gameplay depends of your lightning reflexes and strategic decisions for survival. Each spacehole is a unique and challenging arena you must survive, and ultimately master, to become the new Mega Spacehole.
Unique powerups are placed in each arena to destroy your enemies and restore your shield. The more shield strength you have at the end of the level, the higher your score. If you can last it that long. Fast, immersive, fun. Mega Spacehole is what vr-cade games are all about.