There are many places to see and even more characters you can interrogate and interview. Scores will be kept and leaderboards maintained to reflect actions taken by visitors: the more curious you are the more points you collect. This world is also episodic, new places and people will arrive every week over the next four, and visitors can vote for changes they’d like to see based on what they experience inside Fort McMoney.
If you have a passing familiarity with modern video games, you will recognize this structure. But while it is a game, it’s not fiction, it’s an interactive documentary about that most consequential Canadian oil town: Fort McMurray. It was produced by The National Film Board with French, German and Canadian partners, including The Globe and Mail. (Columnists Eric Reguly and Margaret Wente will be writing about their evolving views as they play along. Read Ms. Wente’s first take here and read Mr. Reguly’s here.) The makers of Fort McMoney call it a game and call users “players,” but there will be no “winners,” or rather there is no way to “lose” the game.
(Also, for such an innovative project, the language to describe it is lacking; we need a new term like Game-Umentary, but one that isn’t terrible.)
Functionally, it owes some of its game design DNA to 2012’s episodic zombie adventure The Walking Dead from Telltale Games. The winner of multiple video game awards, Telltale’s creation follows a similar forking structure: Like in Fort McMoney, each player’s experience with the game will vary because each decision you make, each question or action you commit to, changes the sequence of the next thing you see or are able to do. In The Walking Dead that often meant people you met in the game got eaten by zombies, in Fort McMoney it just means you visit a different part of one of Canada’s fastest-growing boom towns.