Battle Stations 21

Battle Stations 21 uses storytelling techniques and tested, immersive technology developed in the entertainment industry. 

By delivering the Battle Stations 21 training content inside a rich story and a high-fidelity, immersive environment, the U.S. Navy achieves better retention, comprehension and integration of key training objectives.

The Battle Stations 21 Program’s goal is to provide Navy recruits with the culminating training exercise in the final phase of their training. This entire Battle Stations exercise comprises 14 scenarios.

Each scenario contains specific events (like moving aboard a ship) and scenes (like handling a small boat attack). These push recruits to their physical, mental and emotional limits. In turn, they must draw on multiple aspects of their basic training curriculum.

The recruits must use the skills and knowledge they earned during recruit training in an environment that approximates the stressors they can encounter in an operational shipboard environment. 

Immediately after recruits successfully complete Battle Stations 21, a graduation ceremony takes place. The Navy designates recruits as sailors for the first time during the ceremony.

Furthermore, Battle Stations 21 is mandatory for recruit training graduation.

Our Work on the Program

The program’s objective is for an enhanced, world-class battle stations exercise that produces team-oriented sailors. They’re also better prepared, with more confidence to meet the challenges they may face in today’s uncertain environment. 

IDEAS designed and placed all Battle Stations 21 events/scenarios so that recruits don’t have to exit the facility to move between events/scenarios.

At IDEAS, we designed the program’s Phase I conceptual design alongside a team of outstanding companies: 

• Oceaneering Entertainment
• Sonalysts
• Gensler Architects
• Clark Construction
• Design Island 

Together, we completed Phase I in July of 2003.

As part of Phase II, we were responsible for the entire 12.5-hour onboard audio experience. 

Field production, sound design and Foley were all part of the post-audio process. We completed Phase II’s audio production portion in February of 2007.