FoA Game:

Fall of Artica: A Way from Home

Fall of Artica: A Knowledge Media Art Game for Collective World-Building and Learning

Fall of Artica is an original, interdisciplinary knowledge media art project that takes the form of a narrative-driven, multi-modal game world. Developed as both an artwork and a pedagogical environment, Fall of Artica invites players to participate in collective world-building as a way of exploring identity, epistemology, and socio-political systems. Through collaboration with renowned games expert Paul Darvasi and several game jams, FoA has evolved into a “serious game for learning,” incorporating playful, inquiry-driven elements that encourage students to become proactive change agents in value-divergent scenarios.

Game as KMA

The project draws from game design, speculative fiction, visual art, Buddhist cosmology, and critical pedagogy to construct a deeply layered universe in which learning occurs through participation, imagination, and meaning-making.

As a Knowledge Media Art (KMA) initiative, Fall of Artica positions artistic practice as central to the production of new knowledge. Rather than transmitting fixed content, it enables players to co-create and critique knowledge through acts of storytelling, choice-making, and artifact creation. Each region in the game corresponds to a symbolic realm drawn from the Buddhist Six Realms of Rebirth and is expressed through distinctive artistic languages—ranging from egg tempera painting and immersive installations to sound design, writing, and performance.

The game is built around six regions:

It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more.
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more.
It all begins with an idea. Maybe you want to launch a business. Maybe you want to turn a hobby into something more.

Each region acts as a metaphorical thought space where players grapple with real-world issues such as technological control, environmental collapse, capitalist abstraction, and systemic oppression. World-building is not merely aesthetic—it is epistemological, offering participants a way to think through entangled global conditions and their positions within them.