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Since it began in 1946, Locarno Film Festival has been a destination to see the boldest, most avant-garde and innovative filmmaking. Every year, the festival's distinctive black-and-yellow Leopard theme imprints on the city for an intensive 11-day celebration of cinema. This year’s 76th edition was a special one. Of 5,520 submissions to be screened at Locarno, 202 were accepted. An astounding three of these films were made by members of the Catalyst community. 

Often regarded as one of the most prestigious film festivals in the world, Locarno is committed to showcasing a diverse range of films from various countries and genres and has garnered respect from both the industry and the general public. We’re thrilled that movie enthusiasts, filmmakers and critics from all over the world had the chance to see “Du bist so wunderbar” by Film Production Programme Lead Leandro Goddinho and Paulo Menezes, “On the Go” by Film Production and Creative Production (Film) MA tutor Maria Gisèle Royo and Julia de Castro and “Autoerótica” by Creative Production (Film) MA student Andrea Hoyos Valderrama.

For us, this is huge news. Having the same amount of films being screened as China or the Netherlands – and in fact more films screened than most nations – leaves us dizzy with pride at the amazing work coming from our film school and the directors working within it. As most of the cast and crew of “Du bist so wunderbar” were Catalyst alumni and tutors, we took the opportunity to send the crew along to the festival in Switzerland in August to join the audience of over 145,000 people.

"Du bist so wunderbar" wins a Pardino d’argento

On the final day of the festival, it was announced that Leandro and Paulo’s intimate portrayal of Queer immigrant life in Europe won the Pardino d’argento for the Pardi di Domani International Competition section!

The Queer tragicomedy set in Berlin follows Brazilian gay immigrant Edu (Murillo Basso) who was just kicked out of his place struggles to find a place to live while his personal life falls apart. Set on the day thousands of people are protesting against unaffordable rents in Berlin, the short film follows Edu on a journey through the streets, the chaos of house-hunting and the gay cruising underground culture in Berlin.

Cineuropa described the film as both "a fascinating character study" and an "indictment on the solipsism of much of modern society as well as the disparate and often abusive power structures that still exist. It’s another daring and provocative piece of work that lingers in the mind". Eddie Bertozzi, one of the Locarno programmers and head of Pardi di domani Selection Committee praised the short film as "explosive filmmaking, a tragicomical tour de force following a young immigrant in today's Berlin who, in the heyday of the housing crisis, struggles to exist among social inequalities and cultural stereotypes”. Brazilian press hailed the film as “poised to become one of the most celebrated shorts of the year” with “lots and lots of potential to become an amazing feature long narrative”.

"In the realm of filmmaking, having your movie selected for a prestigious festival like Locarno is already a much-desired opportunity", said Leandro, when we caught up with him back in the Funkhaus corridors. "Winning a Leopard Award is a huge surprise, especially for our very low-budget project and given the presence of numerous high-budget films in the same category.”

"This award is a reminder that storytelling transcends circumstances and budgets. It's a testament to the fact that powerful narratives can emerge from dedication and creativity. This is a message I consistently impart to my students in class: there's no high-priced camera that can create a great film on its own. What truly resonates with audiences is the compelling power of storytelling and the artistic choices we make."

Sign up to our newsletter and we'll keep you updated on screenings of the film. The first ones are unofficially set to be in Berlin during November.

"This award is a reminder that storytelling transcends circumstances and budgets. It's a testament to the fact that powerful narratives can emerge from dedication and creativity."
– Leandro Goddinho

Thank you to this special crew of Film Production alumni for their incredible input into bringing the film to life as well as documenting it in the joyful vlog below. They were our eyes and ears on the ground for the festival, seeing over 13 screenings, two panels, and a couple of parties and red carpets along the way. 

Catalyst Locarno film festival

LOCARNO FILM FESTIVAL SPECIAL MENTION

A huge round of applause for Creative Production (Film) MA tutor Maria and co-director Julia, who's film which received a special mention from the Junior Jury. The film questions the choice of motherhood from the perspective of Milagros (Julia De Castro) while Jonathan (Omar Ayuso), seeks solace in Grindr in order to overcome abandonment issues. "On the Go" is a delirious road movie full of music, where a mysterious mermaid (Chacha Huang) with a magic crown will set the course of the journey.

Praising the bold and unconventional approaches to narrative used in the feature length film and it’s “intersectional look at the concept of identity and desire” while avoiding classifications of genre of label, International Cinephile Society gave the film ★★★★½ / ★★★★★. Also holding the "both hilarious and militant" film in high regard, Cineeuropa felt empowered by the queer, feminist road movie "which urges us to tackle life head-on without fear of the future". Spanish speaking Ostro Cines said "Un film estimulante y abierto al descubrimiento. Un descubrimiento que puede llegar, incluso, con la forma de una canción frente a la inmensidad del océano." ["A stimulating film open to discovery. A discovery that can even come in the form of a song in front of the immensity of the ocean".] Since the international premier at Locarno, the On the Go producers Jur and Jur have begun distribution in DACH countries and Taiwan.

Julia De Castro, Omar Ayuso and Maria Gisèle Royo by Locarno Film Festival

“While the story being told is fascinating on its own terms, it is the execution that makes On the Go memorable.”
– International Cinephile Society

Andrea Hoyos Valderrama, who just graduated Creative Production (Film) MA, screened her film "Autoerótica" as part of the Open Doors Screenings selection and followed it with a live Q&A. The film is about Bruna, a teenager exploring her sexuality. Bruna starts a relationship through a dating website that challenges her youthful spirit and confronts the freedom of her body. A huge congratulations to Andrea, a member of the Locarno Open Doors Directors Club, who has been making waves with her productions around the world – as discussed in this recent Variety article.

With a rich history, Locarno festival has presented features and short films by many international directors including Stanley Kubrick, Jim Jarmusch, Ang Lee, Claire Denis and now we’re proudly adding Leandro Goddinho, María Gisèle Royo and Andrea Hoyos Valderrama to this list. We're excited to see what comes next.

Beaming smiles from Leandro, Maria and Andrea at Locarno

We sent a crew of alumni to document the three screenings from the Catalyst community at Locarno 2023. Read the full story.

Catalyst goes to Locarno Film Festival

Our brand-new programme in Music and Sound Design for Visual Media [MSVM], starting this September, offers full immersion into a world that combines sound production and visual media. On this programme, every step of the creation process of combining music, visuals and immersive experiences will become second nature, and who better to lead the programme than interdisciplinary specialist Gary Schultz. 

We caught up with Gary to get to know what informs his practice and learn more about the exciting possibilities of the MSVM programme.

Tell us about your professional journey within film, sound and music.

I had an early start composing music for dance when I was in college. I worked on a very meaningful collaboration with the Philip Glass Ensemble that really lit a fire in me. When I graduated, two important things happened. I worked as a producer and business manager in the VFX industry with amazing clients in VR, gaming, film, holograms, robotics, music videos, etc. It was incredible. 

Meanwhile, I was searching for something in my own music: a way to connect all my different interests in remix culture and soundscapes and to give everything a more human touch. I realised that to pursue the music I wanted to create, I needed to make my own film and video, which was the start of my alias Juniper Foam. So now, I usually combine the two in my own work and I also work as a director for other projects, like music videos and documentaries often dealing with sound.

Which music and sound works for visual media have sparked your imagination and shaped your practice?

Sometimes I love films where they only use music once or twice but it hits you like a sucker punch: films like "Beau Travail" by Claire Denis or "Syndromes and a Century" by Apichatpong Weerasethakul. "In the Mood for Love" by Wong Kar-wai is also amazing, but for the opposite reason; it's just constantly stirring your emotions. 

Sound-wise, any film by Lucrecia Martel is incredible and "Sans Soleil" by Chris Marker is completely mesmerising, especially for how the sound and image work together with the narrative: almost like a long-form music video. For similar reasons, I love "Fiorucci Made Me Harcore" by Mark Leckey. As for installation, "The Clock" by Christian Marclay comes from a great concept, but it's the execution of the music that makes it brilliant.

"Everything is on the table for artists today... The downside is that it becomes more difficult to define the common thread that holds your work together. If you can find what it is that you love... that's enough of a thread."

In your own words, what is the key premise of the MSVM programme and what makes it unique?

Our programme is unique for being interdisciplinary, wide-ranging and modern. In visual media, it's not the symphony that we hear, but rather the sweet spots. So instead of composing traditional concert music, we take shortcuts that connect instrumental composition with studio production. This gives our students much more time to work on augmented reality, gaming, art installation, as well as film and television, where they can specialise in sound. They can also become audiovisual artists who are comfortable working on both sides of the sound and image relationship.

How can the programme help our students discover their true passion and unlock their creative potential? 

Everything is on the table for artists today. We can work across media, outside genres and with any themes we want. The downside is that it becomes more difficult to define the common thread that holds your work together. If you can find what it is that you love, what you want to pursue, that's enough of a thread. Your voice will start to distinguish itself. Finding your voice isn't usually a straightforward path. You often need to produce a lot of work and look through the rubble to see what's important to keep. 

Our programme is designed to support this process. We have a project-based learning model where you produce new material all the time and get constant feedback from your classmates and any tutors you want. The goal isn't to become comfortable with quick deadlines, although this is a bonus: it's to put a lot of things into the world so you can recognise your creative potential and the path you want to pursue.

The programme is very interdisciplinary in its approach. Why, and what can students gain from this?

MSVM prepares students to work in a visual field. Even if you specialise in music or sound, your clients and audience probably don't. First of all, by introducing you to a broad range of ideas, language and reference points, it helps you elevate your work so that it resonates with both specialists and non-specialists (tourists and purists), and secondly, it helps you convince clients and collaborators to work with you because you're speaking their language.

What collaboration opportunities with Catalyst students from other courses does the programme provide?

Collaboration is the reason that MSVM exists. At Catalyst, we have three schools – Film, Music and Acting – with several programmes each. The MSVM program is designed as a meeting point between these schools. It's true that MSVM offers students the chance to collaborate on the assigned projects, but these projects are just a small part of the picture. The reality is that we have an ecosystem that fosters collaboration in and beyond the classroom. Of course, the facilities at Funkhaus are a part of this, including the cinema, the production gear, and the unprecedented studios for film, music and visual effects.

Most importantly, we have a community of tutors, staff and students who are actively collaborating across disciplines. I run a label with many of my former students (Care Of) and we curate and co-produce music, screenings, videos and concerts. In many ways, collaborative opportunities begin the moment you walk through the door.

Our Music and Sound Design for Visual Media HE Certificate and BA courses start this September. We currently have a limited number of places remaining for these courses and are accepting late applications from EU/EEA citizens only. Apply now.

Programme Lead Gary Schultz shares his creative philosophy.

A symphony of senses – Q&A with Music and Sound Design for Visual Media’s Gary Schultz

Last month, the Catalyst community gathered to celebrate the best projects, personal journeys and achievements of 2022/23 within the Film and Acting schools. With over 14 awards up for grabs, and student performances throughout the evening, recognition of our student’s hard work and flair was centre-stage. We brought together a jury of acclaimed professional filmmakers and film scholars including Lillah Halla, Gustavo Vinagre, Harvey Rabbit and Pedro Tinen, who applied their deep industry knowledge and fresh eyes on the projects to give nominees the holistic film awards experience.

Best Film and critical acclaim from the jury

The leading award of the night, receiving the jury’s undivided attention, was Best Film. With five nominations, the award came with a €1,000 Distribution Prize. The fund is to be used in parallel with a mentored distribution plan. The aim of this award is to help the winner cross the sometimes challenging and usually expensive process of having their film screened at upcoming film festivals.

"An authentic and visceral portrayal of mental health" - Pedro Tinen

The resounding winner, with four jury nominations, was Miranda Siegel’s "Ignore your true feelings at your own peril..." – an honest, autobiographical look into a bipolar episode.

Lillah Halla, a guest tutor at Catalyst who recently premiered her debut feature "Levante" at Cannes Film Festival and received the FIPRESCI Film Critics Award, described Miranda’s film as "a film that stays in you and reveals the potential and voice of a future filmmaker… Films require courage from us: the courage to make ourselves vulnerable; courage to aim our cinematic-weapon at what is intimate, at the ‘unsaid’; courage to not only emulate a voice, but to truly and instinctively search for our own, at the risk of failure. This film deals with complex 1000-piece puzzles. But [mainly it deals with] the puzzle of mental health, in an honest and brutal way– until we complete the pieces – and overcome them.” 

Winner of the 2022 Berlinale's Teddy Award, Gustavo Vinagre applauded the film’s “hypnotic power to make me doubt all the time if I'm watching a fiction or a documentary" and its “inventive ways of talking about a mental health issue with pain but also with a lot of humour”. He praised “the vulnerability that the character allows us to see and also her strength” as well as Miranda’s capacity for “telling so much with such concise narrative tools". 

Harvey Rabbit, whose most recent feature film was selected for 2023’s Rotterdam Film Festival and is making waves at film festivals around the globe, also praised the simplicity and rawness of Miranda’s approach. Harvey, who last year led a workshop at Catalyst on making low-budget feature films, said: "With its simple structure and lack of any fancy film magic, this short documentary is brutal in its honesty, as it follows a young woman through a bipolar episode... In its brave disclosure, [the film] is an autobiographical tale of how important it is to take the time to heal."

Similarly, distribution and film festival strategy expert Pedro Tinen applauded Miranda’s “authentic and visceral portrayal of mental health” for its "raw approach to the self through documentary filmmaking… the film opens the viewer to an unapologetic experience of physical and emotional intensity, by following the protagonist’s relationship with their own feelings”.

Best Director was won by second-year Film Production student Lior Klein, whose film “The Opposite of Helpless” was awarded a total of six awards. The film also depicts a mental health episode, exploring the topics of depression, family, adulthood and trust.

A big thank you to Matthias Schott, who sponsored the Best Performance prize with a €350 voucher to use in his acting studio. Screen Acting second-years Elinor Linusson and Rachel Leong won Best Performance and Best Supporting Performance for their performances in Lior’s film.

"I'm super proud of my incredible cast and crew, who brought their enormous talent to this project, on which we all worked hard and lovingly together." – Lior Klein

The short film, set during Jewish holiday Hanukkah, was also awarded Best Production Design (Lior Klein and Sara Cabezas Molina), Best Sound Design (Lior Klein and Dilinna Ike) and Best Editing (Dilinna Ike). 

Huge thanks to Dilinna Ike for making this brilliant video of the event, which perfectly sums up the joy and community spirit felt that evening. 

Catalyst Film Awards 2023

A special thank you to Dino.Berlin who sponsored the Best Director, Best Production Design and Best Cinematography awards. Best Cinematography was awarded to Leo Bonmati for his role as DOP in the film “Impermanence of Things”.

Film Production student Sophie Giuliani took home the first-years’ Best Film award for her film “Phoebe” and first-year Film Production student Ian Verni won Best Original Music for his short film “Useless People Living and Dying”. Congratulations to Ian, who was in competition with students from the music courses for this award and brought a multi-disciplinary vision to an (almost) entirely self-made film, also earning him the Kid’s Choice Award (chosen by student vote). Miranda, winner of Best Film also won Best Story for her film "Forgive me, Natalija" Third-year Film Production student Alexandros Liossatos won Best VFX for his film “Parallel”. 

Special mention goes to the faculty-selected Golden Gorilla Award and Spirit Award, won by second-year Screen Acting student Melika Rezapour and third-year VFX student Ethan Ho respectively. 

Ethan restlessly collaborated across disciplines and schools throughout his three years studying with us, personifying the Catalyst spirit of collaboration and community. 

The Golden Gorilla Award for the boldest and most adventurous filmmaker was awarded to Melika, whose independent film “One Way Ticket” has been selected for 26 international film festivals and has won awards around the world, including Best Acting Ensemble and Best Producer at the Berlin Short Film Festival and Best Short Film at Morocco’s Souss International Short Film Festival. Melika wrote, directed and starred in the film, which is inspired by “honour killings” in Iran. With strict media laws in Iran, Melika had to write a fake script in order to obtain permission to film, risking the possibility of entering her home country again. It was this bravery and determination that earned her this award, and we’re delighted to see the film earning the international recognition it deserves.

"In Iran we are not allowed to film wherever and whenever we want...  As this is a topic that our government doesn’t want the world to hear about, I had to write a fake script… but I filmed what I wanted to film." – Melika Rezapour

Now in its fifth year, the Catalyst Film Awards is also an opportunity for our community to flex their performance muscles and talents in front of a larger audience. Enigmatic Screen Acting students Rhys Williams and Kristers Ozols hosted the evening and Rhys vogued and spun her way through a dance performance. Many in the audience were wowed (and a bit jealous!) by the ease with which our Screen Acting students could pick up an instrument or sing. Check out this video of Screen Acting third-year Merlina Scheffler and Creative Audio Prod. alumnus Aníbal Caño performing “Tal Cual” for a glimpse into the performances we enjoyed.

Thank you to Kaito Sashihara who captured all the photos of the night.

A special jury judges Best Film at this years awards. Read the full story.

“A film that stays in you": Catalyst Film Awards 2023 and our guest jury’s Best Film

We had the absolute pleasure of hosting Andreas Pietschmann, the star of Netflix's Dark and 1899, with a packed audience as students from our acting, film and music schools came to gain insights from Andreas’ vast experience in the world of acting. The occasion was made even more special as Andreas engaged in a heartfelt conversation with his former classmate and Screen Acting Programme Lead, Sylvia Schwarz, creating an atmosphere of warmth and connection.

"You never succeed just by yourself. You need others. You need the collaboration and support of a team. That's how life works, and that's how successful productions are made."

As an institution that has multi-disciplinary collaboration ingrained in what we do, it was natural to invite Andreas Pietschmann, an accomplished actor known for his belief in the power of teamwork and collective effort, to share his wisdom with the aspiring artists, movers and shakers at Catalyst. 

"It's not just about being nice to others on set, but also about understanding the different roles and departments and how they all contribute to the final product. When you work well with others, you can create something truly remarkable." 

It’s an idea that Linda Hill discusses in one of our favourite Ted Talks - using industry leading examples like production company Pixar, Linda shows how to foster creativity in organisations. Andreas was able to do the same during his visit, sharing his insight of working alongside complex groups of people moving towards a single aim during his work with Netflix. His talk underscored the importance of collaboration, not only in the acting profession but also in all spheres of life. 

An essential part of what you’ll learn at Catalyst is that in a career in acting – or in film or music, for that matter – the power of collaboration is both undeniable and fulfilling. Acting is not a solo endeavour – read this article for an outline of other roles. During his talk, Andreas gave examples from working with Netflix, who he says always “emphasised good working conditions on set… provide workshops and advice on how to work together in a nice way, be open, and put everyone on the same level”. Andreas shared his experience of working with Netflix on set for both Dark and 1899, emphasising that their approach to work ethic fostered a strong bond among the cast, making them feel like a family. He noted that it was through collaboration – and the active choice to engage in collaboration - they achieved this.

When they began their training together at Westfälische Schauspielschule Bochum, Andreas and Sylvia embarked on a journey that shaped their artistic sensibilities and reinforced the value of collaborative practices. In their dialogue, they recounted experiences from their time as students and reflected on how those early lessons continue to influence their careers today.

"Acting is not just about the individual. It's about being part of something bigger, part of a team. When you have a supportive and collaborative environment, it allows everyone to shine and deliver their best performances." 

Andreas also spoke passionately with our students about the multifaceted nature of language, explaining how it enhances an actor's ability to connect with their audience on a profound level. Sylvia thought back to their training for theatre and remembered the constant need to read aloud, which is arguably less important a skill for screen actors. Andreas agreed, but went on to say that theatre requires that you can project your voice. While this need is gone for screen, "it's not just about clear pronunciation but also about the emotions and atmosphere you can create with your voice. Working with language helps you expand your capabilities as an actor."

"Collaboration and teamwork allow actors to tap into their full potential. By working together, we can bring out the best in each other and create something truly remarkable on stage or screen." 

Many thanks to Andreas for sharing his time and energy with our budding Catalyst actors! Find out more about our acting courses here.

Discover how Andreas Pietschmann's recent visit to Catalyst showcased the power of collaboration in the acting industry.

Andreas Pietschmann in dialogue at Catalyst

Netflix’s Dark actor Andreas Pietschmann on the art of collaboration

Graduating from our Electronic Music Production and Performance [EMP] programme in 2022, Frederic was barely out of the Catalyst doors before showcasing his project Mantissa Audio at Superbooth – the world's largest trade show and festival for electronic music instruments, taking place annually here in Berlin.

Mantissa Audio began when Frederic started learning about programming, shortly before joining Catalyst and the brand has grown alongside his obsession with digital audio processing. A self professed nerd, Frederic used his time at Catalyst doing what he loves: exploring the hazy space between art and technology. We caught up with Frederic to find out more about Mantissa Audio, how Superbooth and Catalyst have helped Mantissa Audio develop, and what wisdom Frederic could share with others looking to make their artistry economically viable. 

Mantissa Audio began circa 2019. Practical, technical and theoretical knowledge that Frederic gained both in and around the EMP curriculum has refined the Mantissa Audio project. Frederic points to the name of their brand, explaining that Mantissas are the bits (0s and 1s) of a digital decimal number (FPU) that represent significant figures.

“Each module idea of mine is intended to realise a concept that could only be done, or done best, in the digital domain. I'm fascinated by the idea that everything in digital processing is built on simply 1s and 0s.”

If this is sounding very technical, it’s because for Frederic this has become a second language after investing more than four years into the topic.

Frederic’s obsession with music in the digital domain is not slowing down – they intend to explore algorithmic music and generative concepts as much as possible. "Euclidean sequences and rhythms are widespread in Eurorack already, and also gaining popularity in the box. I think there are many other similar concepts, based on alternative algorithms, that can be explored as well. Using the Collatz Conjecture, for example, to generate sequences and make a sort of data sonification based system." One prototype Frederic brought with them to Superbooth used the Collatz Conjecture.

Superbooth is perhaps the biggest expo for synthesisers and electronic music technology currently running. Manufacturers come together to announce and demonstrate the latest in their product lines, audio technophiles come to play with the latest goodies and scenesters gather to share their anecdotes. Europe's premier music tech shindig draws crowds from well beyond Berlin and is a technology paradise for music nerds, providing the perfect setting for Frederic to showcase their brand.

“Superbooth definitely informed my practice and the progression of Mantissa Audio.”

Frederic’s approach was to only bring prototypes, instead of officially releasing any modules, using the show to get feedback and gauge interest from the community before going all in. “The feedback I got was incredibly positive, and has given me a fresh motivation to finish the first prototypes right away". Follow the Mantissa Audio story on Instagram.

Let’s take it back a step. How did your experience at Catalyst shape Mantissa Audio?

Frederic was quick to mention the tuition received from Jeff Stern during a third year module as pivotal - during this module Frederic developed two prototypes. “Jeff was incredibly helpful during this process, and I knew all the feedback I was getting from him was always 100% honest and to the point". Robin Koek also took on a main role for Frederic, and Robin’s MAX/MSP course during the second year was influential. 

I felt like I could relate a lot to Robin on a technical/artistic level… sometimes I find it difficult to find people who I think share my opinions and level of nerdiness of art/technology.

Our goal is to give our students as many tools as possible to explore their craft from multiple angles. The tools available brought Frederic’s ideas to life - and before coming to Catalyst, Frederic had never heard of Eurorack. Eurorack is a particular format of modular synthesiser originally introduced by Doepfer Musikelektronik. Our music tech shop has six Doepfer cases with modules from various manufacturers, as well as a Roland system 500 plus Eurorack compatible instruments like the Moog Mother-32 and Doepfer Dark Energy. “Eurorack is very expensive, especially for students, so I'm definitely grateful that I had the opportunity to explore modular synths at the school. Even now, my personal system is just a few modules, a fraction of what's available at Catalyst.”

Find out more about our music facilities here.

We’re really inspired by your trajectory, what advice do you have for other up and coming artists?

Frederic was surprised at the demographic of the crowd at Superbooth and said this was a useful takeaway. "I met many people who will probably play an important role in the development of the company and the release of the first modules. I was expecting to be talking mostly to modular synth artists and enthusiasts, but there were also quite a few shop owners and some manufacturers that I met, who I probably wouldn't have had the opportunity to meet otherwise." They also made it clear it’s best not done alone. "I had some of my peers help me during the show, but next time I will definitely try and have someone who is at the booth with me the whole time". 

We were curious if there was any advice for those earlier in their creative journey. 

A great starting point for Frederic was an online course they did - Crash Course Electronics and PCB Design by Andre LaMothe. The course taught him foundational skills like how to read a datasheet, and the terminology needed in order to find resources to continue learning about synthesizers. “There was a lot of this basic knowledge about electrical engineering that I had to learn which allowed me to search for other learning resources more intentionally.”

Frederic also pays dues to the city of Berlin, for its restless electronic music scene. “There are so many DIY and electronic parts shops and just the ‘wont-take-no-for-an-answer’ attitude of the city has helped me to feel like my goals are accomplishable.”

Keep reading about innovation in music technology

Superbooth stall was a learning experience within a longer journey for Frederic Scheer's Mantissa Audio

Catalyst alum presenting at Superbooth

Alum Frederic Scheer steps onto the scene at Superbooth with Mantissa Audio

Discover the sounds of an altered post-pandemic culture with Volume Two: the third release in our student cassette series. Get your hands on a physical copy or enjoy our annual compilation on SoundCloud. 

Welcome to the latest retro-ready, lofi-loving music experience at Catalyst. We're proud to showcase the extraordinary talent of our music production students through our latest cassette tape compilation: Volume Two. This latest release showcases the hard work and dedication of our music production students from all years and courses in the 2021/2022 cohort, reflecting the sounds of a post-pandemic culture.

Building on the success of Volume Zero and Volume One, second-year Electronic Music Production and Performance student Salman Khan took the reins of the project, to curate the latest compilation and expertly project-manage the process from ideation to launch. He has collaborated with mastering engineer and Catalyst alumnus Yann Clemence, to get the tracks both tape and digital-ready.

Meanwhile, our Creative Production in Music Masters student Mario Scarfiglieri brought to life a unique cover art that incorporates AI-generated imagery in the design. The result is a beautiful and communal art piece that represents the innovation and creativity of our students.

The cassette series was born as we relaunched ourselves under the new name of Catalyst in 2020 (formerly dBS), as a way to document the evolution of our school, celebrate the hard work of its community, and showcase the diverse music styles and practices that make Catalyst the unique and inspiring place it is. Our mission is to empower our students to dream big and this Volume is a reflection of that spirit.

We're happy to continue a showcase of our student work in a medium that reunites listeners with a physical reality, bringing forward the learned lessons of the past years to create something both beautiful and communal.

Driven in part by the popularity of Netflix's Stranger Things 4, which then proceeded to take over our TikTok and Insta feeds for months to come, the medium that was staple in the 1980s is still getting a lot of attention. In case you need reminding, you're invited to listen to one of our second year Creative Audio Production & Sound Engineering student's covers of Kate Bush's Running Up That Hill in the album showcasing series CAP Selects Season 3.

We dug into some research to find out what music kind of music is being released on cassettes. While the top 40 charts in cassettes do feature some names you might expect - Iron Maiden, Ozzy Osbourne and Robbie Williams - whose audience are more likely to have a cassette player without a usb dock, the majority of the 2022 cassette top 40 were fresh releases from that year. Testifying to the resurgence of the cassette, Arctic Monkeys, Muse, Machine Gun Kelly & Digga D have all released music in cassette format. It also goes to show that the medium is not restricted to one single genre.

An interesting feature that some of our music students may look into playing with is limited edition fan-targeted formats. In 2022 we saw how cassette releases by both 5 Seconds of Summer and BLACKPINK's were available in a variety of colourways or with artwork and design reflecting specific band members.

Discover the sounds of an altered post-pandemic culture with Volume TWO: the third release in our student cassette series.

The latest retro-ready, lofi-loving music experience from the Catalyst Berlin hallways showcases the extraordinary talent of our music production students. A compilation reflecting the hard work and dedication of our music production students from all years and courses, reflecting the sounds of a post-pandemic culture.

Tracklist
Side A:
Parallel Processing and Duhne - A Deux
Frivolous - Pandora's Trash
Mister Bloo - Jennie & The Bets
Rafaela - LUZ
Lyndon Lewis - Blessed Are The Cracked
DJ Whaletail - Marim biology 5

Side B
Anneke Thompson - MIFU
NINI NUTSUBIDZE - SISSAA
aavaa - Still Disintegration
Surrealich - Out of Drama
Svansy von Swansea - Everything
TEDTEDTED - MOSH_1

Read more about the ideas going into the series at:
https://catalyst-berlin.com/stories/catalyst-cassette-volume-two

Tracks mastered by alum Yann Clemence
Artwork designed by Mario Scarfiglieri
Berlin, Spring 2023

Catalyst Volume TWO by Etikett Radio

You can purchase Catalyst Cassette Volume Two during any one of our public events. Or, if you’d like to ‘collect’ this edition among your liked SoundCloud tracks, listen to the compilation in full above. Want to dig further? Scroll down to browse the featured artists and to learn more about their tracks. 

You may not know that the original Walkman came with two headphone jacks - so that you and a friend could listen at the same time. We want to channel this nostalgic element of the technology and encourage you to pass Volume TWO onto a friend to listen. 

The 3rd edition of our collectible cassette series is out on tape and SoundCloud. Read about the release and the featured student tracks.

Catalyst cassette Volume TWO is out now

RSB x Catalyst is back. The third instalment of our ongoing collaboration, Mensch Musik #7 on Saturday 22 April, will take a critical look at human destructiveness and its consequences, from the tragedy of Hiroshima to the extinction of animal species. But the performance doesn't stop at lamentations and accusations, it also searches for possibilities for healing within the means of art. 

Conducted by Roderick Cox and conceived and realised by the artist duo tauchgold, this interdisciplinary performance of electronic and symphonic music with spoken word is part of the RSB’s dedication to making classical music accessible and welcoming to newcomers.

Closing the performance will be Eliad Wagner, Programme Lead for our Electronic Music Production & Performance courses, and Natalie Szende, a student on the same course. Eliad will perform two pieces for solo synthesiser, incorporating the live sound of the orchestra . Meanwhile, Natalie has composed ‘Oceanic Oscillations’ - a homage to the power of the sea. We caught up with Eliad and Natalie to find out more about their inspirations and artistic approaches ahead of the performance.

What story would you like to tell in the performance?

Natalie: The piece I have composed is a contemporary homage to the sea. Less from a perspective of the spectacle of the waves, but rather as a dive underneath the surface. What we encounter can be unknown, unusual, and even uncanny. The ocean is an eternal mystery for humankind – purifying, soothing, destructive, beautiful and dangerous at the same time. A true force of nature.

Eliad: I don't really tell stories with my music but there is always a strong nuanced connection with the context and the event. While I create the music, the theme of the event is prominent for me - the human connection with nature, how we need it, abuse it, pollute it and learn to achieve harmony with it. There is constant negotiation and entanglement in this relationship.  As a person who’s very close to and interested in technology, I see a clear connection between our relationship with technology and our relationship with nature. There are also many parallels to draw between that and the relationship between classical music and electronic music. They are both different ways of indoctrinating the natural phenomena of sound. To some, one could feel more natural than the other. 

“I see a clear connection between our relationship with technology and our relationship with nature.”
Eliad Wagner

Eliad: I’m working on two pieces for a solo synthesiser. So I will play pieces alongside the orchestra and other artists. However, I plan to work with the sound of the orchestra and the sound of the concert hall. In this way, I plan to feel quite connected to the whole orchestral experience rather than sounding like a separate thing.   

I’m excited by being in the proximity of the orchestra which is one of the most amazing musical structures/instruments. It is impossible to ignore how heavy this setting is with tradition and ritual. It's a unique challenge to create something for that stage. 

Natalie: Sounds of the ocean, the wave-like melodic movements of the acoustic instruments and the oscillating energies of electronics will fuse into one listening experience in my piece ‘Oceanic Oscillations – for synthesised seascape, symphonic orchestra & human voice’. 

In the language of electronic music, when we are talking about synthesis, mostly we mean this to describe physical phenomena. But it has a strong philosophical connotation as well. Posing questions like: What is music? What can music be? To me, musical composition is not only sonic. It can include spatial, visual, but also interpersonal elements. 

“Musical composition is not only sonic. It can include spatial, visual, but also interpersonal elements.”
Natalie Katharina Ilona Szende

Which technical or conceptual ideas are you exploring through your contribution to the performance?

Natalie: I’ve been exploring the concept of Deep Listening –  earlier this year I invited an audience at CTM Vorspiel to participate in a Deep Listening experience. Deep Listening was founded by the composer and pioneer Pauline Oliveros. In her own words, “All cultures develop through ways of listening… Deep Listening is the foundation for a radically transformed social matrix in which compassion and love are the core motivating principles guiding our actions.”

Oliveros is saying Deep Listening is one important step towards empathy. I also believe that the way to the outside, like a general awareness of each other and our environment, inevitably leads through the inside. In this way, I hope my underwater piece will resonate ‘under the surface’ in the perception of the listener. 

Eliad: I work with a modular synthesiser, which is quite a chaotic and malleable instrument. In this performance, my intention is to find different ways to project sound in the space. I also plan to use recorded sound, which is something I do very rarely but I feel it connects well with the concept of the event.   

Presenting electronic music inside a "temple" of classical repertoire, like the RSB’s Haus des Rundfunks, is not a simple thing. There is a charged relationship between the two practices and struggles of political, ideological and aesthetic nature. It's hard for me to ignore that value is sometimes being appreciated differently between the two practices – things that are very hard to achieve in one are very simple and quite basic in the other, and vice versa. This idea finds its way into the piece as well, but ultimately people will connect to it on their own terms.

“Presenting electronic music inside the temple of classical repertoire is not a simple thing. There is a charged relationship between the two practices.”
Eliad Wagner

The theme of Mensch, Musik! #7 points to how we are not isolated, but part of a something bigger. How does this concert sit within the rest of your practice?

Natalie: Aside from my investigations into Deep Listening, my practice brings me to explore something I call “cinematic dreamscapes”, in which I create atmospheres that go further than aiming to mobilise a certain feeling. This relates to how, as a listener, I am fascinated by ambiguous situations. When my emotional buttons are not pushed in a certain way, but rather I am given space to take a musical journey myself, which is much more engaging.

I’ve also been participating in the HyperSynth workshops between Catalyst and the RSB, in which we’ve had the amazing opportunity of discussing and playing with some orchestra members. These conversations and touch points between any genres, disciplines and cultures are very important, so I’m grateful for this initiative.

Eliad: Acknowledging and considering the part we have in the larger world around us – be that society, our professional practice or the natural environment – is very connected to both my musical practice as well as my work in leading the Electronic Music Production & Performance courses. It is possible that these ideas are more evident through my academic work, since this topic is often discussed with students at every stage of their journey at Catalyst.

Tickets for the Mensch, Musik! #7 performance at Haus des Rundfunks on Saturday 22 April are available here. 

Want to hear more from Natalie? Watch her "Paternoster Pitch" interview with RSB below, in which she gives an 'elevator pitch' of her artistic ideas while riding the RSB's historic elevator system.

Paternoster Pitch mit Natalie Katharina Ilona Szende

Our collaboration is going live with it's first installment of Mensch, Musik! which will cross examine the idea of borders

Mensch, Musik! - Catalyst x RSB collaboration

Catalyst returns to the Haus des Rundfunks for Mensch, Musik! #7

We're back with Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering BA students centre-stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. They can explore any idea they choose – the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work. 

Listen to and read about our five week-by-week selections below for Season 3.

We're back with Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students at centre stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose - the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work

"My original idea for this album was to explore a new artistic side in me in order to create something danceable and energetic that DJ's can use for club sets. At the same time, I felt the urge to better understand electronic music and its structure in order to reinforce my arrangement skills. That's why my inspiration path led me back to the 80s of music. There would be no better era than that time to gather inspiration from and to create my own catchy melodies and exciting song structures.

I quickly got drawn in by big snares, analogue synthesizers, electronic basslines, and catchy vocals. And so, I began to think about how I could create a concept that would fuse the sound of the 80s with modern sounds and production techniques. That’s how my album concept was born: 80s meeting the future."

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s3

Find out more about our Creative Audio Production & Sound Engineering courses at www.catalyst-berlin.com

CAP Selects: Albums S3 | Extraterrestrial by Numa by Etikett Radio

"My original idea for this album was to explore a new artistic side in me in order to create something danceable and energetic that DJ's can use for club sets. At the same time, I felt the urge to better understand electronic music and its structure in order to reinforce my arrangement skills. That's why my inspiration path led me back to the 80s of music. There would be no better era than that time to gather inspiration from and to create my own catchy melodies and exciting song structures.

I quickly got drawn in by big snares, analogue synthesizers, electronic basslines, and catchy vocals. And so, I began to think about how I could create a concept that would fuse the sound of the 80s with modern sounds and production techniques. That’s how my album concept was born: 80s meeting the future." 

Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students at centre stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose - the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work

"I often think about what it means to grow toward the light without shielding it from others. It requires a great deal of questioning patterns and reflecting on the roles I willingly take as well as the roles I have been given. In societies made of social constructs telling us who we are and who we can be, this questioning has led me to a deep well of freedom and uncertainty. These feelings push me to the language of music.

While writing and recording my album, Bent to Fit, I was thinking about how some relationships have completely changed the way I see the world. Bent to Fit is not only an exploration of these relationships but also of my relationship to myself. I am interested in how they reinforce and affect one another. There is a reason we are drawn to the people we are drawn to, and I enjoy pondering these subconscious attractions. I have identified parts of myself, positive and negative, through witnessing them in others, and through witnessing my own countering reactions."

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s3

Find out more about our Creative Audio Production & Sound Engineering courses at www.catalyst-berlin.com

CAP Selects: Albums S3 | Bent to Fit by Antonia Estelle by Etikett Radio

"I often think about what it means to grow toward the light without shielding it from others. It requires a great deal of questioning patterns and reflecting on the roles I willingly take as well as the roles I have been given. In societies made of social constructs telling us who we are and who we can be, this questioning has led me to a deep well of freedom and uncertainty. These feelings push me to the language of music.

While writing and recording my album, Bent to Fit, I was thinking about how some relationships have completely changed the way I see the world. Bent to Fit is not only an exploration of these relationships but also of my relationship to myself. I am interested in how they reinforce and affect one another. There is a reason we are drawn to the people we are drawn to, and I enjoy pondering these subconscious attractions. I have identified parts of myself, positive and negative, through witnessing them in others, and through witnessing my own countering reactions."

Dimensia is a Cinematic Trailer Music concept album, written in FL Studio 20, following the story of a daughter whose father's dementia is getting more severe every day (song) that passes. Dimensia is a conjuction (portmanteau) of the two separate words dementia and dimension. In the album you will hear re-occurring motifs, themes and phrases in alternative variations that resemble the symptoms of dementia.

Telling a story through nonvisual content can be quite challenging. However, I believe that this is a great way to present a story through audio but also for making it clear to the listener that these songs are connected. This is something that I’ve always wanted to do but have never attempted before.

Felix Jansson - Dementia by Etikett Radio

"Dimensia is a Cinematic Trailer Music concept album, written in FL Studio 20, following the story of a daughter whose father's dementia is getting more severe every day (song) that passes. Dimensia is a conjuction (portmanteau) of the two separate words dementia and dimension. In the album you will hear re-occurring motifs, themes and phrases in alternative variations that resemble the symptoms of dementia.

Telling a story through non-visual content can be quite challenging. However, I believe that this is a great way to present a story through audio but also for making it clear to the listener that these songs are connected. This is something that I’ve always wanted to do but have never attempted before. "

Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students at centre stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose - the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work.

"The origins of the concept towards this album emerge from the neurotic observation that all elements in a piece of music correlate together not only harmonically but also, somehow, magnetically. As waves, wind currents, or volcanic eruptions have proven effects on the magnetic field of precise locations, elements in music have the same kind of effect between each other as well as towards humans and what they perceive acoustically and emotionally. This consistent observation triggered the vision, the concept and the focus of this resulting insightful album.

Within this collection of pieces, the main center of attention was to work with raw elements, most often related to electricity, wind and more generally nature, to create a permanent spirit of morphing texture layers emphasizing the sense of attractive poles and parallelism."

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s3

Find out more about our Creative Audio Production & Sound Engineering courses at www.catalyst-berlin.com

CAP Selects: Albums S3 | Matter & Magnetism by Etikett Radio

"The origins of the concept towards this album emerge from the neurotic observation that all elements in a piece of music correlate together not only harmonically but also, somehow, magnetically. As waves, wind currents, or volcanic eruptions have proven effects on the magnetic field of precise locations, elements in music have the same kind of effect between each other as well as towards humans and what they perceive acoustically and emotionally. This consistent observation triggered the vision, the concept and the focus of this resulting insightful album.

Within this collection of pieces, the main center of attention was to work with raw elements, most often related to electricity, wind and more generally nature, to create a permanent spirit of morphing texture layers emphasizing the sense of attractive poles and parallelism."

Season 3 of CAP Selects: a weekly series that puts the outstanding work of our second-year Creative Audio Production & Sound Engineering Bachelor students at centre stage. Students are tasked with writing a seven-track album from scratch that meets a creative vision. An opportunity to explore any idea they choose - the only limitations to this brief is that two of the tracks must be collaborative and another two must be covers or reinterpretations of original work.

"My album is a soundtrack to a life from birth to death highlighting specific experiences to tell a story which is open to interpretation. It is not about any one specific person, but the hope is that the listener will relate to the ‘main character.’ The individual tracks are not necessarily meant to force the listener to feel the given emotions or experiences, though I hope to have achieved that to some extent as well. Rather, they convey the complicated journeys one takes to express, come to terms with, or to mature through the inevitable struggles one is faced with throughout life. If there is one constant theme throughout the album it would be just that; struggle."

Head to the blog for more albums of the week: catalyst-berlin.com/stories/cap-selects-albums-s3

Find out more about our Creative Audio Production & Sound Engineering courses at www.catalyst-berlin.com

CAP Selects: Albums S3 | Beyond Myself by Nicholas Schuman by Etikett Radio

"My album is a soundtrack to a life from birth to death highlighting specific experiences to tell a story which is open to interpretation. It is not about any one specific person, but the hope is that the listener will relate to the ‘main character.’ The individual tracks are not necessarily meant to force the listener to feel the given emotions or experiences, though I hope to have achieved that to some extent as well. Rather, they convey the complicated journeys one takes to express, come to terms with, or to mature through the inevitable struggles one is faced with throughout life. If there is one constant theme throughout the album it would be just that; struggle."

Check out Season 3 of showcase albums by our Creative Audio Production & Sound Engineering students. Listen to our album of the week.

Albums by Berlin's Emerging Artists

CAP Selects Season 3: Listen to our student albums of the week

Student showcase exploring interactive visual effects techniques

Today we're celebrating three projects from our Visual Effects, Digital Arts and Animation courses that sparked our imagination. In the showcase video you'll hear from three students and VFX tutor Matthieu Schmit (from GhostRaum), and get a glimpse of how we help students take ideas and develop them into finished and interactive projects.

In his project titled Formula, Oguz Karakose enjoyed learning about real time rendering while exploring the idea of freedom within emotional expression. Formula uses TouchDesigner, a visual development platform that allows you to create stunning realtime projects and rich user experiences such as interactive media systems, architectural projections, live music visuals and more.

Savina Janssen’s Cubic Dream helps reconnect individuals with nature through motion detection technology. Using TouchDesigner and Microsoft Kinect Azure, which allowing users to interact intuitively without any intermediary devices, visitors can play and interact with Savina's dreamy flower based particle system.

Finally, Ethan Ho’s Paths Cross took inspiration from the process of mixing ink and creating paintings. Using TouchDesigner and a projector as a canvas, Microsoft's Kinect sensor maps each body's movement, turning the participants into a brush. Paths Cross allowed visitors to use the installation to collaborate in creating a unique work of digital art together.

Catalyst interactive VFX projects showcase

More on our VFX, Digital Arts & Animation courses

Showcase of 3 VFX & animation projects. Watch a video of how our students learn visual effects and work towards getting a career in vfx.

Visual Effects project showcase

Three student VFX projects that put our wheels in motion

For those asking "is screenwriting a good career", here's eight games where the writing elevates this type of digital art.

Who said you have to have a boring job? On our 1- and 3-year Higher Education Screenwriting courses we set you up for success, ready for the full range of media industries requiring aspiring writers like you. Today, more than ever, the film and TV industries are capable of setting new fashion trends and igniting social discourse. However, screenwriting doesn’t end when the credits of your favourite film or series start rolling. Today, we’re taking a moment to celebrate a media blossoming into its own, video games. 

Video games may have started as graphics and gameplay but in the modern age, the scripts behind them are crafting beautiful storylines, providing characters of depth and giving us language with which to discuss challenging topics. By any measure, video games are transforming the film industry. That’s why we’re taking inspiration from the Catalyst Film Awards, and giving due praise to some brilliant games. The only entry requirement for these awards - the games have to implement great writing or use of words that sparked the imagination of those that played the games.

Disco Elysium is one of the highest-rated games released during the 2010s, with the game centred entirely around dialogue. A role playing game with excellent writing, Disco Elysium is a murder-mystery with an amnesiac police officer as the protagonist. The way in which language leads this game sets it apart from other competition, and the narrative is widely compared to classical literature rather than other video games. Written by Estonian novelist Robert Kurvitz, the storyline explores everything from disco, drugs and sex through to politics and dystopia into a well thought out and in-depth role playing mechanic.

Don’t just take our word for it, Disco Elysium won many awards, including Best Narrative at The 2019 Game Awards, and Best Narrative at the 2020 BAFTA Game Awards.

This award raises the interesting debate gaining traction in entertainment - how video games are transforming the film industry. Using the performance capture technology that brought us Andy Serkis’ Gollum in The Lord of the Rings (and later Benedict Cumberbatch’s Smaug in the Fellowship of the Ring) an entire performance can be recorded and mapped onto your favourite video game characters.

While Death Stranding earns an honourable mention for its star cast including Norman Reedus, Mads Mikkelsen and Léa Seydoux, it is Christopher Judge’s performance in God of War Ragnarök that takes home the prize. Writters Matt Sophos, Richard Zangrande Gaubert, Cory Barlog also received awards for Best Videogame Writing Category at the WGA for God of War in 2019. This short behind the scenes video gives an glimpse of how Judge gives every bit of himself to the role, elevating the God of War series from what was once a basic platform game, in which progression was measured by the size of the monster being battled, to an insightful tale of growing up that many teenagers will relate to on a personal level.

VFX, Digital Arts & Animation LABS - 2nd year workshops (2021)

An absolute masterpiece that revamps post-apocalyptic zombie survival, adding an immersive narrative that players can not help but be pulled into - The Last of Us doesn’t just create relationships between characters, but also with the player themselves. The emotional core of the game is based around the evolving link between the two main characters - Joel and Ellie. It is the plot that puts this game in a league of its own, with Joel’s father like protection serving as a narrative cornerstone.

In 2014 Neil Druckmann, now co-president of Naughty Dog, accepted an award from Writers Guild of America for Outstanding Achievement in Writing for Video Games. Three and a half years in the making, many fans throughout the web believe this game deserved much more recognition for the writing.

In 2023, perhaps it will get the Oscar that many claim it deserves, as it is released on HBO in TV series format, staring Bella Ramsey as Ellie and Pedro Pascal as Joel.

While Silent Hill 2’s abstract monsters, designed by Takayoshi Sato - which you could be forgiven for thinking were generated by AI software that doesn’t understand how many limbs a human has - are a intriguing feature, the game tells a haunting story of a world manifesting off the protagonist’s inner demons.  As with The Last of Us, the best horror games are those with realistic characters, who’s flaws or imperfections aid in portraying them as genuine human beings.

Written by Hiroyuki Owaku and Sato, Silent Hill 2 is a psychological horror rather than all gore and fright, the narrative led game with multiple endings was at odds with the trends in video games at the time. This approach came to define the possibilities of game narrative for future titles in the genre.

College dropout Mae Borowski returns home to the crumbling former mining town of Possum Springs, seeking to pick up her directionless former life. But her hometown has changed dramatically. Mae is sucked into an unlikely adventure, rekindling former relationships and creating new ones. Night in the Woods also concerns itself with serious topics, such as stages of early adulthood, the challenge of a loss of a relationship or mental health issues like depression. Mae works through her issues through the relationships she forms. Written by Scott Benson and Bethany Hockenberry, this game will make you laugh, cry and if you have anything in common with the protagonist, may lead to some deep introspection.

The Sims, and it’s internal language Simlish, has a special place in our heart. The language was born out of technical needs, as developers would need 6 discs of dialogue per language to fill the game, and the makers still believed it would get repetitive. Will Wright's creative solution was to making their own language captured the imagination of many players.

We’ll teach you how to become a screenwriter and career paths in screenwriting. Keep reading the Catalyst top 8 Screenwriting for Games Awards