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parn:alternate_reality_games_tutorial [2013-04-16 14:06] alkanparn:alternate_reality_games_tutorial [2013-05-17 12:31] (current) alkan
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 ====Alternate Reality Games Tutorial==== ====Alternate Reality Games Tutorial====
  
-Based on the [[:arg_tutorial]] by Adrian Hon and Matt Wieteska((Adrian has a background background in neuroscience, Matt in theatre. They work together at Six to Start in London, creating game-like stories and story-like games, both serious and fun.  ’After several years of working for hire’ said Adrian, ’we started making our own games, such as Zombies, Run! – an audiobook, game and ARG that you can play while running. We are curious about how to make games at the crux of gameplay, social interaction and storytelling. We are not pushing new technologies but using existing technologies in the context of storytelling.))+Based on the [[ARG Tutorial]] by Adrian Hon and Matt Wieteska((Adrian has a background background in neuroscience, Matt in theatre. They work together at Six to Start in London, creating game-like stories and story-like games, both serious and fun.  ’After several years of working for hire’ said Adrian, ’we started making our own games, such as Zombies, Run! – an audiobook, game and ARG that you can play while running. We are curious about how to make games at the crux of gameplay, social interaction and storytelling. We are not pushing new technologies but using existing technologies in the context of storytelling.))
  
 ===The prehistory of alternate reality games=== ===The prehistory of alternate reality games===
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 Creating an alternate reality in fiction isn’t a new concept. Books, radio-plays, games, theatre improvisations or fortune-telling all include elements that are used in Alternate Reality Games (ARGs). ARGs’ unique approach to storytelling and alternate reality is their straddling of the online and the physical worlds and including the players’ daily life as elements in the story. ARGs smear stories across transmedia contents and technologies – from tweets and blogs, live events and physical puzzles to social networks and mobile apps. Although the media might be contemporary, some storytelling devices used in ARGs can be traced back several decades and even centuries, pointing to the continued inspiration and excitement that alternate realities offer for their readers, players, and inhabitants. Creating an alternate reality in fiction isn’t a new concept. Books, radio-plays, games, theatre improvisations or fortune-telling all include elements that are used in Alternate Reality Games (ARGs). ARGs’ unique approach to storytelling and alternate reality is their straddling of the online and the physical worlds and including the players’ daily life as elements in the story. ARGs smear stories across transmedia contents and technologies – from tweets and blogs, live events and physical puzzles to social networks and mobile apps. Although the media might be contemporary, some storytelling devices used in ARGs can be traced back several decades and even centuries, pointing to the continued inspiration and excitement that alternate realities offer for their readers, players, and inhabitants.
  
-<html><a href="http://www.flickr.com/photos/foam/6685432371/" title="introductions by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7154/6685432371_9b9cde2ca9_z.jpg" width="640" height="480" alt="introductions"></a></html>+<html><a href="http://www.flickr.com/photos/foam/6685432371/" title="introductions by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7154/6685432371_9b9cde2ca9_b.jpg" width="1024" height="768" alt="introductions"></a></html>
  
 //War of the Worlds//((http://en.wikipedia.org/wiki/The_War_of_the_Worlds_%28radio_drama%29)) is an example of an alternate reality that was written as fiction, but was perceived as real. This well-known **radio play** consisted of fake news stories about an alien invasion, causing a mass panic among its listeners when it was first broadcast in 1938. It gets remade every few years and still tricks people into thinking that it’s real. //War of the Worlds//((http://en.wikipedia.org/wiki/The_War_of_the_Worlds_%28radio_drama%29)) is an example of an alternate reality that was written as fiction, but was perceived as real. This well-known **radio play** consisted of fake news stories about an alien invasion, causing a mass panic among its listeners when it was first broadcast in 1938. It gets remade every few years and still tricks people into thinking that it’s real.
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 Aside from literature, ARGs draw heavily on theatre. Theatre games or **improv** are examples of some of the most rule-free ways of telling a story. In an improv the participants agree to share an illusion. Classic improv invites everyone involved to build on each other’s stories, but there is one rule that should be followed: you can never say no, always say ‘yes and…’. There is no direction, no outside force, just the imagination of a group of people working together. Theatre of the Oppressed((http://en.wikipedia.org/wiki/Theatre_of_the_Oppressed)) is a well known example where improv is used to help communities deal with social issues. Aside from literature, ARGs draw heavily on theatre. Theatre games or **improv** are examples of some of the most rule-free ways of telling a story. In an improv the participants agree to share an illusion. Classic improv invites everyone involved to build on each other’s stories, but there is one rule that should be followed: you can never say no, always say ‘yes and…’. There is no direction, no outside force, just the imagination of a group of people working together. Theatre of the Oppressed((http://en.wikipedia.org/wiki/Theatre_of_the_Oppressed)) is a well known example where improv is used to help communities deal with social issues.
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 +<html><a href="http://www.flickr.com/photos/foam/6685430147/" title="liminality explanation by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7004/6685430147_3834f2afc7_b.jpg" width="1024" height="618" alt="liminality explanation"></a></html>
  
 More recently, the pre-history of ARGs includes **role playing games** (RPGs) and **Dungeons and Dragons** (D&D).((http://en.wikipedia.org/wiki/Dungeons_%26_Dragons)) In RPGs players take on roles of fictional characters in a fantasy world. A player is supposed to inhabit the character, where the character subsumes their own personality. D&D is a framework in which these games can take place: the player roles a dice to decide the outcome of their next move, which helps them tell a story. In D&D there is a predefined scenario with pre-made characters and setting. By limiting what you can do, the game frees you to imagine what you could do. Because of the strict game logic, collaboration is easier than in improv theatre. Your choices are up to you but only up to a limit, which helps prevent the paralysis of choice. Dungeon masters can move stories in different directions based on reactions of the players. Similarly, in ARGs puppet masters help the players get a more interesting experience. The point is not to win, but to tell an interesting story. More recently, the pre-history of ARGs includes **role playing games** (RPGs) and **Dungeons and Dragons** (D&D).((http://en.wikipedia.org/wiki/Dungeons_%26_Dragons)) In RPGs players take on roles of fictional characters in a fantasy world. A player is supposed to inhabit the character, where the character subsumes their own personality. D&D is a framework in which these games can take place: the player roles a dice to decide the outcome of their next move, which helps them tell a story. In D&D there is a predefined scenario with pre-made characters and setting. By limiting what you can do, the game frees you to imagine what you could do. Because of the strict game logic, collaboration is easier than in improv theatre. Your choices are up to you but only up to a limit, which helps prevent the paralysis of choice. Dungeon masters can move stories in different directions based on reactions of the players. Similarly, in ARGs puppet masters help the players get a more interesting experience. The point is not to win, but to tell an interesting story.
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 Finally, an example of participatory and alternate reality stories devised in the art world is the surrealists’ **Exquisite Corpse**,((http://en.wikipedia.org/wiki/Exquisite_corpse)) an associative method to build on one another’s words or images and assemble them collectively. Building on the idea of collective storytelling, Six to Start developed A Million Penguins,((http://www.amillionpenguins.com/)) a wiki novel. The lesson learned through this experience was that a mere instruction to tell a story together is too broad, as it leaves people too much freedom and they end up not knowing what to do. Finally, an example of participatory and alternate reality stories devised in the art world is the surrealists’ **Exquisite Corpse**,((http://en.wikipedia.org/wiki/Exquisite_corpse)) an associative method to build on one another’s words or images and assemble them collectively. Building on the idea of collective storytelling, Six to Start developed A Million Penguins,((http://www.amillionpenguins.com/)) a wiki novel. The lesson learned through this experience was that a mere instruction to tell a story together is too broad, as it leaves people too much freedom and they end up not knowing what to do.
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 +<html><a href="http://www.flickr.com/photos/foam/6685447223/" title="hands by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7151/6685447223_369d8b8bbe_b.jpg" width="1024" height="473" alt="hands"></a></html>
  
 ===The past and present of alternate reality games: from marketing ploys, hoaxes and puzzles to context-specific experiences=== ===The past and present of alternate reality games: from marketing ploys, hoaxes and puzzles to context-specific experiences===
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 The Beast can be considered a blueprint for ARGs (in the way it uses websites, phone calls, live events). It was also the first to use the TINAG (This Is Not a Game) aesthetic, where the aim is to suspend disbelief for as long as possible: never explain, never give players instructions, never admit what is real and what is fiction. In contrast, Electronic Arts designed Majestic: The ARG((http://en.wikipedia.org/wiki/Majestic_%28video_game%29)) where it was obvious that it was a game (people had to pay for it). This game was much less popular than The Beast.  Some games were real hoaxes, such as the marketing for The //Blair Witch Project//((http://en.wikipedia.org/wiki/The_Blair_Witch_Project)) and //Lonely Girl 15.//((http://en.wikipedia.org/wiki/Lonely_Girl_15)) The Beast can be considered a blueprint for ARGs (in the way it uses websites, phone calls, live events). It was also the first to use the TINAG (This Is Not a Game) aesthetic, where the aim is to suspend disbelief for as long as possible: never explain, never give players instructions, never admit what is real and what is fiction. In contrast, Electronic Arts designed Majestic: The ARG((http://en.wikipedia.org/wiki/Majestic_%28video_game%29)) where it was obvious that it was a game (people had to pay for it). This game was much less popular than The Beast.  Some games were real hoaxes, such as the marketing for The //Blair Witch Project//((http://en.wikipedia.org/wiki/The_Blair_Witch_Project)) and //Lonely Girl 15.//((http://en.wikipedia.org/wiki/Lonely_Girl_15))
 +
 +<html><a href="http://www.flickr.com/photos/foam/6685445875/" title="adrian-spooks by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7013/6685445875_da1708f232_b.jpg" width="1024" height="502" alt="adrian-spooks"></a></html>
  
 Most contemporary ARGs have stopped blurring boundaries between reality and fiction using TINAG, as this has alienated players in the past. According to Six to Start it might be best not to pretend that an ARG isn’t a game. Players prefer clarity about an ARG being a story. Puppet masters have a key role to play in providing this clarity, establishing trust in an ARG and making sure players’ participate but don’t get hurt. Most contemporary ARGs have stopped blurring boundaries between reality and fiction using TINAG, as this has alienated players in the past. According to Six to Start it might be best not to pretend that an ARG isn’t a game. Players prefer clarity about an ARG being a story. Puppet masters have a key role to play in providing this clarity, establishing trust in an ARG and making sure players’ participate but don’t get hurt.
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 From The Beast to Perplex City it turned out that playing ARGs is very difficult and demands a lot of commitment. There was much disillusionment for a while, but then ARGs began gaining popularity again. In the last years there was a rise in period ARGs, often set in the near future (far future or past requires a lot of world building). The ARG for the TV series Lost (The Lost Experience((http://en.wikipedia.org/wiki/Lost_Experience))) is an example that takes into account that people like dressing up and talking to each other. There are ARGs playing with alternate histories (//what if…//) and many ARGs about conspiracy theories – players understand how a conspiracy theory is supposed to work and are excited to get involved. From The Beast to Perplex City it turned out that playing ARGs is very difficult and demands a lot of commitment. There was much disillusionment for a while, but then ARGs began gaining popularity again. In the last years there was a rise in period ARGs, often set in the near future (far future or past requires a lot of world building). The ARG for the TV series Lost (The Lost Experience((http://en.wikipedia.org/wiki/Lost_Experience))) is an example that takes into account that people like dressing up and talking to each other. There are ARGs playing with alternate histories (//what if…//) and many ARGs about conspiracy theories – players understand how a conspiracy theory is supposed to work and are excited to get involved.
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 +<html><a href="http://www.flickr.com/photos/foam/6685447897/" title="screens by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7028/6685447897_d407b80aa3_b.jpg" width="1024" height="245" alt="screens"></a></html>
  
 Over the years designers understood that the TINAG approach was perhaps not the best way to engage players; not knowing what it takes to play the game proved to be frustrating and alienating for many people. Nowadays ARGs have become more about context-specific personal experiences. Smart phones make it easier to contact the players wherever they are and adapt the story to their context and location. There is a large collection of location-based ARGs, ranging from a focus on gameplay to story generation and storytelling: Over the years designers understood that the TINAG approach was perhaps not the best way to engage players; not knowing what it takes to play the game proved to be frustrating and alienating for many people. Nowadays ARGs have become more about context-specific personal experiences. Smart phones make it easier to contact the players wherever they are and adapt the story to their context and location. There is a large collection of location-based ARGs, ranging from a focus on gameplay to story generation and storytelling:
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 An important thing to remember is that even if the game is about an ethical issue, it shouldn’t pass judgement on the player, but instead spark moral discussions – such as the game Fallout 3((http://en.wikipedia.org/wiki/Fallout_3)) about the slave society in Pittsburg. In this game the players were asked to commit morally questionable acts, such as murdering an infant in order to develop a cure for the whole population. This is interesting from a social perspective, as one player is not making decisions in isolation, but there are usually a lot of debates and conversations in the players’ community. An important thing to remember is that even if the game is about an ethical issue, it shouldn’t pass judgement on the player, but instead spark moral discussions – such as the game Fallout 3((http://en.wikipedia.org/wiki/Fallout_3)) about the slave society in Pittsburg. In this game the players were asked to commit morally questionable acts, such as murdering an infant in order to develop a cure for the whole population. This is interesting from a social perspective, as one player is not making decisions in isolation, but there are usually a lot of debates and conversations in the players’ community.
 +
 +<html><a href="http://www.flickr.com/photos/foam/6685431585/" title="mystery moodboarding by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7001/6685431585_0b66bcb33e_b.jpg" width="1024" height="626" alt="mystery moodboarding"></a></html>
  
 ===The palette of an ARG designer=== ===The palette of an ARG designer===
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 **Physical goods** include things such as books, letters and artefacts – objects deeply related to the story. ARG designers make them, but the players do it too. Here is where the world of ARGs meets maker cultures. Socks Incorporated((http://www.socksinc.com/)) is a great example: people create their own sock puppets and share them online. Many people enjoy crafting and making stuff. Nowadays it is becoming easier to design, make and share things using services as Shapeways,((http://www.shapeways.com/)) Reprap((http://reprap.org/)) and Fablabs,((http://en.wikipedia.org/wiki/Fab_lab)) Moo((http://uk.moo.com/)) or The Newspaper Club.((http://www.newspaperclub.com/)) It is rare to lose players by suggesting they make something, even though some people wouldn’t do it themselves. This aspect of ARGs is all about nice gestures and small rewards. Furthermore, physical objects can become a good revenue stream. **Physical goods** include things such as books, letters and artefacts – objects deeply related to the story. ARG designers make them, but the players do it too. Here is where the world of ARGs meets maker cultures. Socks Incorporated((http://www.socksinc.com/)) is a great example: people create their own sock puppets and share them online. Many people enjoy crafting and making stuff. Nowadays it is becoming easier to design, make and share things using services as Shapeways,((http://www.shapeways.com/)) Reprap((http://reprap.org/)) and Fablabs,((http://en.wikipedia.org/wiki/Fab_lab)) Moo((http://uk.moo.com/)) or The Newspaper Club.((http://www.newspaperclub.com/)) It is rare to lose players by suggesting they make something, even though some people wouldn’t do it themselves. This aspect of ARGs is all about nice gestures and small rewards. Furthermore, physical objects can become a good revenue stream.
 +
 +<html><a href="http://www.flickr.com/photos/foam/6685445229/" title="adrian-real-world by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7146/6685445229_1a1ba9e5c7_b.jpg" width="1024" height="285" alt="adrian-real-world"></a></html>
  
 **Live events** require quite a bit of effort and resources. They have a specific time, place and duration, similar to flashmobs.((http://en.wikipedia.org/wiki/Flash_mob)) Live events get most press, but are expensive and difficult to set up. The audience in a live event is limited (hundreds rather than thousands), but the effect is strong: it locks the ’hard-core’ audience into the story and achieves more commitment. The weirder or more fantastical an event is, the more people get into it. Events should be designed like LARPS (live action role playing games)((http://en.wikipedia.org/wiki/Larp)) – where everyone can get involved and become a part of the story. Live events are a good tool in the arsenal, but not the only thing to focus on. One of the issues with live events is that they are places where the two different worlds collide (online and physical) and there is often a confusion of boundaries and issues with the ’fourth wall’:((http://en.wikipedia.org/wiki/Fourth_wall)) People don’t know how to behave, as there is no standard formula. There is much to learn from experiential theatre companies about managing audience members in live events. **Live events** require quite a bit of effort and resources. They have a specific time, place and duration, similar to flashmobs.((http://en.wikipedia.org/wiki/Flash_mob)) Live events get most press, but are expensive and difficult to set up. The audience in a live event is limited (hundreds rather than thousands), but the effect is strong: it locks the ’hard-core’ audience into the story and achieves more commitment. The weirder or more fantastical an event is, the more people get into it. Events should be designed like LARPS (live action role playing games)((http://en.wikipedia.org/wiki/Larp)) – where everyone can get involved and become a part of the story. Live events are a good tool in the arsenal, but not the only thing to focus on. One of the issues with live events is that they are places where the two different worlds collide (online and physical) and there is often a confusion of boundaries and issues with the ’fourth wall’:((http://en.wikipedia.org/wiki/Fourth_wall)) People don’t know how to behave, as there is no standard formula. There is much to learn from experiential theatre companies about managing audience members in live events.
  
 As the previous paragraphs show, when beginning to design an ARG there are many possible avenues to follow. Having so much potential gets novice designers overly excited and they tend to try to do everything in one game. It’s good to remember that limiting yourself brings out more of the story. An ARG is a complex system of multiple media, spaces and people, so good coordination and record keeping is essential. A good way to limit the possibilities is to look at the skills of the people around you and making a priority of things that they can do: if for example your team primarily includes people who can make websites, focus your ARG on the online storytelling rather than live events.  Throughout the design process keep asking yourself – why? Why play? Does this make sense? Would I do it? Even creating great ARGs begins with yourself. As the previous paragraphs show, when beginning to design an ARG there are many possible avenues to follow. Having so much potential gets novice designers overly excited and they tend to try to do everything in one game. It’s good to remember that limiting yourself brings out more of the story. An ARG is a complex system of multiple media, spaces and people, so good coordination and record keeping is essential. A good way to limit the possibilities is to look at the skills of the people around you and making a priority of things that they can do: if for example your team primarily includes people who can make websites, focus your ARG on the online storytelling rather than live events.  Throughout the design process keep asking yourself – why? Why play? Does this make sense? Would I do it? Even creating great ARGs begins with yourself.
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 +<html><a href="http://www.flickr.com/photos/foam/6685440839/" title="the cactus ARG - why? by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7170/6685440839_58c1161f7e_b.jpg" width="1024" height="643" alt="the cactus ARG - why?"></a></html>
  
 ===Telling a story or creating stories: on complexity of sense-making in ARGs=== ===Telling a story or creating stories: on complexity of sense-making in ARGs===
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 The complexity of the narrative is related to the communities’ ability to piece things together. If it’s too complicated, people lose interest quickly. Each story-fragment should be entertaining and interesting in and of itself. In Liberty News,((http://www.sixtostart.com/liberty-news/)) the ARG accompanying the TV series //Spooks Code 9//, Six to Start designed a news site with comments, including a live chat with ’the prime-minister’s office’. Live Q&A sessions kept the story fresh and the players engaged. Another Six to Start ARG that included many mysterious, scattered story fragments and clues was The Code((http://www.sixtostart.com/the-code/)) treasure hunt, released as a puzzle book accompanying the BBC documentary series about mathematics.  Both these ARGs were designed to include sufficient granularity: single ’seeds’ or episodes for the casual viewers and a deeper storyworld for the ’hard-core’ fans. The complexity of the narrative is related to the communities’ ability to piece things together. If it’s too complicated, people lose interest quickly. Each story-fragment should be entertaining and interesting in and of itself. In Liberty News,((http://www.sixtostart.com/liberty-news/)) the ARG accompanying the TV series //Spooks Code 9//, Six to Start designed a news site with comments, including a live chat with ’the prime-minister’s office’. Live Q&A sessions kept the story fresh and the players engaged. Another Six to Start ARG that included many mysterious, scattered story fragments and clues was The Code((http://www.sixtostart.com/the-code/)) treasure hunt, released as a puzzle book accompanying the BBC documentary series about mathematics.  Both these ARGs were designed to include sufficient granularity: single ’seeds’ or episodes for the casual viewers and a deeper storyworld for the ’hard-core’ fans.
 +
 +<html><a href="http://www.flickr.com/photos/foam/6685431585/" title="mystery moodboarding by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7001/6685431585_0b66bcb33e_b.jpg" width="1024" height="626" alt="mystery moodboarding"></a></html>
  
 The majority of the ARG audience are casual participants. They don’t want to make long-term commitments. If the game is based on mandatory interactions, there is a risk of losing many audience members. Players like to have an illusion of being able to make choices, but most of them just want a good story. In online fantasy games the players’ choices impact their ending. Choices can remove a lot of subtlety from the story, thereby creating many options, but the plots and characters can become black-and white or one-dimensional. When the story is forked, more content needs to be generated. If it’s a story with just one ending, as in a lot of games, this allows for creating multiple perspectives on the same narrative. The majority of the ARG audience are casual participants. They don’t want to make long-term commitments. If the game is based on mandatory interactions, there is a risk of losing many audience members. Players like to have an illusion of being able to make choices, but most of them just want a good story. In online fantasy games the players’ choices impact their ending. Choices can remove a lot of subtlety from the story, thereby creating many options, but the plots and characters can become black-and white or one-dimensional. When the story is forked, more content needs to be generated. If it’s a story with just one ending, as in a lot of games, this allows for creating multiple perspectives on the same narrative.
  
-The important question to ask when making an ARG is: are you telling a story that is exciting to be told, or a story you want to construct together with the players? The first job (of both designers and players) in an ARG is to assemble the information and make sense out of it, to understand the scope of the problem. Too much ’and-and-and’ in an ARG can be dangerous. As Brenda Laurel writes in Computers as Theatre:((This abbreviation can be found on http://www.lespagesauxfolles.ca/index.phtml?pg=29&chap=1061))+The important question to ask when making an ARG is: are you telling a story that is exciting to be told, or a story you want to construct together with the players? The first job (of both designers and players) in an ARG is to assemble the information and make sense out of it, to understand the scope of the problem. Too much ’and-and-and’ in an ARG can be dangerous. As Brenda Laurel writes in Computers as Theatre:((http://www.lespagesauxfolles.ca/index.phtml?pg=29&chap=1061))
  
-The number of new possibilities introduced falls off radically as the play progresses. Every moment of the enactment affects those possibilities, eliminating some and making some more probable than others… At the final moment of a play…all of the competing lines of probability are eliminated except one, and that is the final outcome… Thus, over time, dramatic potential is formulated into possibility, probability and necessity.’+The number of new possibilities introduced falls off radically as the play progresses. Every moment of the enactment affects those possibilities, eliminating some and making some more probable than others… At the final moment of a play…all of the competing lines of probability are eliminated except one, and that is the final outcome… Thus, over time, dramatic potential is formulated into possibility, probability and necessity.’
  
 ===Why make an ARG?=== ===Why make an ARG?===
  
 Making stories about alternate realities is an idea that won’t die. With ARGs we can experiment with different ways of telling these stories across physical and online worlds. The stories in ARGs are told in familiar ways, akin to the way we learn about the world our daily life. Players can become engaged in an alternate reality of an ARG while remaining themselves. As ARGs encourage us to discover and explore the real world while being immersed in a fictional reality, they make us think about ourselves and how we engage with others. By doing this, ARGs have the potential to bring large communities together to experience, generate and tell stories. In their community-building capacity, ARGs are different from entertainment and literature. They are a new medium in its infancy, with its screen being the entire world. Making stories about alternate realities is an idea that won’t die. With ARGs we can experiment with different ways of telling these stories across physical and online worlds. The stories in ARGs are told in familiar ways, akin to the way we learn about the world our daily life. Players can become engaged in an alternate reality of an ARG while remaining themselves. As ARGs encourage us to discover and explore the real world while being immersed in a fictional reality, they make us think about ourselves and how we engage with others. By doing this, ARGs have the potential to bring large communities together to experience, generate and tell stories. In their community-building capacity, ARGs are different from entertainment and literature. They are a new medium in its infancy, with its screen being the entire world.
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 +<html><a href="http://www.flickr.com/photos/foam/6685446531/" title="matt by _foam, on Flickr"><img src="https://farm8.staticflickr.com/7153/6685446531_2c913fe762_z.jpg" width="466" height="640" alt="matt"></a></html>
  • parn/alternate_reality_games_tutorial.1366121177.txt.gz
  • Last modified: 2013-04-16 14:06
  • by alkan