In November 2012, Google introduced its Ingress scanner app to the Google Play store. And for almost two years, the central point of interaction for Google’s deeply immersive alternate reality game has been an Android exclusive. That changes today: with the release of Ingress‘s scanner app to the iTunes Store, the world of Ingress has officially rolled out on iOS devices.
The Ingress scanner app asks players to join the green Enlightened or blue Resistance faction in a battle for control over portals tied to real world landmarks. The game has a sizeable player base within the Android community. Over 12,000 players have gathered for the game’s frequent live events in cities across the globe so far in 2014, and the game boasts over 4 million downloads. With the expansion into iOS devices, an influx of new players is likely.
To help ease new players into the game, Ingress is introducing new elements to ease the transition into a deep narrative running beneath the game’s surface, and a community that continues to blossom as they take on increasingly extravagant challenges. The primary conduit for introducing new players to the world of Ingress is a new web series featuring two sisters who signed up to play the game for opposite factions, Ingress Obsessed, complementing the existing Ingress Report videos.
RedLynx Studios’ Trials games are pure, unadulterated evil.
The basic premise of their motorcycle racing game has remained largely unchanged over the past decade: navigate through a series of unforgiving and often lethal obstacles to complete the track. More often than not, the “reward” for completing a track is to witness your rider explore new and creative ways to die. Given the game’s unforgiving learning curve, cycling through hundreds of riders on a single track is par for the course. And for most players, that’s where the story ends. Riders enter the track, riders finish the track, and riders die. But for players willing to dig a little deeper, Trials hides a deeper mystery.
It all started in 2009 with Trials HD, RedLynx’s console debut. Many of Trials HD‘s levels contained a series of codes, ciphers, and objects referencing key moments in history tied to the advancement of science and the arts. One level’s course was built around Beethoven’s Ode to Joy, with the song’s notes appearing in the background as the rider’s path followed the rise and fall of the famous song. A projection at the end of another level replicated Charles Darwin’s famous Tree of Life sketch, exploring his theory of evolution. Prototypes of Da Vinci’s inventions provided the backdrop for another level. Even JJ Abrams’ Mystery Box typifying his approach to the integration of mystery in storytelling makes an appearance. Intrigued, players identified the connections between the disparate scientific advances highlighted in the game to reveal metaphysical musings from the game’s creative director, Antti “ANBA” Ilvessuo, on the meaning of life. In Ilvessuo’s vision, much of this thought culminates with the Voyager probe and its Golden Record, as an attempt to reach out to life outside our solar system.
When Trials Evolution was released in 2012, Ilvessuo and the team at RedLynx hid instructions to an even more unforgiving puzzle, despite its more straightforward solution. Various stages in the game contained signposts featuring a message encoded with a Vignere cipher, using text from the Bohr-Einstein debates as the key. Following the instructions unlocked an audio track leading to the website FixedPatternEncodes.com, which soon featured a string of icons representing key moments in science in a manner highly reminiscent of the Trials HD puzzle trail. Matching the names of famous scientists with their discoveries provided an alphabetic cipher for one final riddle before GPS coordinates for four locations in Helsinki, Sydney, Bath, and San Francisco were revealed. Players who went to each location treasure chests containing keys, along with instructions to take the key to Paris, France on August 1, 2113. On that date, one of five keys will open a box underneath the Eiffel Tower.
That’s right: a video game about motorcycle racing is planning on unveiling a mystery box at the foot of the Eiffel Tower in a hundred years, and the mystery box can only be opened by one of five keys entrusted to future generations.
The Springfield Art Museum has been plagued with some serious security problems this summer. Last week, George Caleb Bingham’s Portrait of Fanny Smith Crenshaw went missing, transforming the painting’s location into a crime scene. This week, it’s Roger Shimomura’s Kansas Samurai. If cracking the case meant tracking down art thieves unloading their inventory on the black market, the authorities would be well equipped to handle the case. However, the museum suspects these disappearances are an inside job: paintings are coming to life and escaping their frames, breaking out from the inside. So they called in the experts: the Art Hunters.
Shane Beckworth and Brock Hansen are a pair of hard-as-nails art retrieval specialists and co-founders of The Art Hunters, an organization that specializes in art that comes to life. Every week, the duo tackle a new case featured on their online reality show, and enlist the aid of the show’s Art Hunter Reservist fans to track down the missing artwork and return it to the museum. During the show’s premiere episode, Reservists followed a series of clues scattered throughout the Springfield Art Museum that led them to the Maple Park Cemetery. At the cemetery, they discovered the real Fanny Smith Crenshaw’s tombstone, providing Beckworth and Hansen all the information they needed to convince Bingham’s portrait to return to her frame.
Art Hunters Online is an alternate reality game created by the Springfield Art Museum in Springfield, Missouri and red40 Entertainment. The project is set to run through July 17th, with six weeks of escaped art to keep the local community occupied over the summer. Weekly videos introduce the weekly case, informing Reservists where to go to find the missing artwork’s crime scene and its corresponding puzzle trail. By focusing on artwork that has deep significance to the city, the hunt can extend beyond the museum to locations across the city. Solving the puzzles along the way provides a special code that can be entered into the Art Hunters Online website to unlock the second half of the weekly video, depicting how Beckworth and Hansen recapture the escaped art.
Ten years ago, the website for Margaret’s House of Bees started acting strangely. Many of the site’s images were glitched beyond recognition, and nonsensical text covered up articles about the Napa Valley-based apiary.
While many of the people who gathered to troubleshoot a bee enthusiast’s website refer to themselves as “Beekeepers”, a passion for the cultivation of honey wasn’t the only reason over half a million people flocked to ilovebees.com over the next four months. I Love Bees was an alternate reality game that introduced Halo fans to the first-person shooter’s rich backstory through over a five-hour long audio drama released into the world through pay phone calls, blog posts, emails, and websites in bite-sized chunks.
Between Thursday July 31st and Saturday August 2nd, many of I Love Bees‘ creators and some of its most dedicated players will gather together to celebrate the anniversary in Portland for ARGFest, an annual conference, festival, and meetup that brings together the creators and fans of alternate reality games, transmedia storytelling projects, and serious games.
On Thursday July 31st, ARGFest is adding the IDEA Symposium, with a series of speakers focusing on the business of creating interactive entertainment and transmedia. Serial game designer Mike Selinker, whose recent projects include the narrative puzzle book Maze of Games and the Pathfinder Adventure Card Game will be headlining the day’s events. Joining him for the IDEA Symposium are indie game developers, platform creators, event producers, and experience designers behind everything from Cards Against Humanity’s game design reality show Tabletop Deathmatch to Disney’s The Optimist, a historical fiction retrospective of Disney Parks’ history.
The I Love Bees Anniversary festivities start on Friday August 1st with an interview between ARGNet founder Steve Peters and Jordan Weisman, the chief creative for the alternate reality game, and more recently creator of Shadowrun Returns and Golem Arcana. Friday’s Speakers will also provide a closer look at the state of transmedia in Europe, the climate change serious game Future Coast, and the transmedia thriller Phrenic, guided by Glitchhikers creator Lucas Johnson as Grand Inquisitor, charged with kicking off the Q&A sessions by asking panelists challenging questions. The evening’s keynote will be followed with a performance by The Doubleclicks, who recently raised over $80,000 on Kickstarter to release an album of songs about dinosaurs, tabletop games, and binge-watching Netflix.
The main Beekeeper reunion will take place on Saturday August 2nd, with panels reflecting on the game from players, as well as I Love Bees creators Elan Lee, Sean Stewart, and Kristen Rutherford. The festivities will conclude with FestQuest, a puzzle hunt designed to show attendees the city of Portland in a different light before leading them to the final mystery location to close out the evening. This year’s hunt was created by Puzzled Pint.
Tickets for the full three days of ARGFest are available for $200 through July 2, although attendees are able to purchase tickets for select events at a discounted rate. Check out the ARGFest 2014 website for the full list of speakers, conference schedule, or to register.
Disclosure: Google paid for my flight and lodging for the Recursion event.
The morning of March 29th, two rival factions gathered at Los Angeles’ Grand Park in anticipation for a pitched battle. As noon approached, it became obvious to any passerby that something was going on. Hundreds of people prominently wearing blue and green streamed in through the park steps, conspicuously segregating themselves into colored clumps: blues to the right, and greens to the left. To any random passerby, it must have looked like the staging area for a flash mob. But look a little closer, and you’d see the telltale signs of the virtual battle about to take place. Headphones tapped into private communications channels to coordinate movement. A row of cyclists primed and ready to deploy at a moment’s notice. Pennants proudly bearing faction insignia. And more smartphone chargers and batteries than people.
This gathering was an Anomaly event, one of the live events organized by Google’s Niantic Labs team for players of their geo-locative mobile game Ingress. Since early February, 25 Anomaly events took place in countries including the United States, Mexico, Belgium, France, Germany, Italy, Croatia, Egypt, Israel, and India for a series of events collectively referred to as the Recursion Anomalies. Los Angeles was the final Anomaly event in the series, and Google invited me out to Los Angeles to experience Google’s approach to designing a live event for a massively multiplayer game. Previously, ARGNet explained how Ingress is played at a more casual level. This article explores how gameplay changes for its most ardent fans.
It’s a familiar trope: a struggling production company staffed with a cast of eccentric and borderline incompetent employees takes on someone new to shake things up. Some of the best comedies on television start with that premise: WKRP in Cincinnati, NewsRadio, Just Shoot Me, even 30 Rock. But while the shows are about poking fun at the inner workings of media companies, viewers rarely get to see the fictional show’s finished product. Growing up I always wondered what it would be like to turn on the radio and get the morning updates from WKRP’s Les Nessman, to pick up a copy of Blush off the magazine rack, or to flip the channel to NBC to catch an episode of The Girlie Show. I got a taste of what it might be like when Will Ferrell co-anchored CBS North Dakota affiliate KX News for a night as Ron Burgundy to promote Anchorman 2. MyMusic has spent the past two years delivering on that same promise with a four-course meal.
MyMusic is a transmedia production company seeking to reinvent itself after the social media platform it used as a blogging platform went bankrupt. Looking to find a new home, the company partnered with an up and coming video hosting site called YouTube, signing on as one of its Original Channels. To help with the transition, MyMusic brings on a new head of production, Metal to lend his expertise. Before coming to MyMusic, Metal was known as Emmet Allan Klaga. But the company founder’s “Indie” issued an executive decree that all staff members should be known only by the musical genres they represent, because “broad stereotypes are way easier to remember than names.” So Klaga became Metal, joining other genred cliches like Idol, Country, Dubstep, Techno, Hip Hop, and Scene. Conformity to these stereotypes is strictly enforced, and being caught “posing” is punished with a fate worse than unemployment.
Starting with Metal’s entry to the company in April 2012, MyMusic became the subject of a weekly behind-the-scenes documentary series released on the show’s YouTube channel. This self-referential mockumentary forms the heart of the Fine Brothers’ YouTube sitcom, MyMusic. Like its fictional counterpart, the MyMusic show was born out of YouTube’s Original Channels Initiative, Google’s attempt to support premium original content on the site. The Fine Brothers, best known for their Emmy Award-winning React video series featuring focus group-style videos of children, teenagers, YouTubers, and elders reacting to pop culture talking points ranging from Boxxy and twerking to gay marriage. As their next project, the brothers pitched the concept of a weekly scripted series. YouTube accepted MyMusic into the Original Channels Initiative, along with programs like Phillip DeFranco’s SourceFed, Hank and John Green’s Crash Course, and Frederator Studios’ Cartoon Hangover. In addition to providing financing for MyMusic, Google provided the brothers with the use of YouTube Space LA to build MyMusic‘s set.