Month: March 2012

“Real Escape Game” Locks Players in for Mystery

Over the last five years, Takao Kato has locked over 100,000 people in bars, clubs, cathedrals, and baseball stadiums with a deceptively simple challenge: solve the puzzles within the time limit, and escape. And between March 23rd and March 25th, Kato is taking his narrative puzzle experience, Real Escape Game: The Escape from the Werewolf Village to San Francisco’s Japantown for a locked room mystery that is quickly selling out.

The premise, inspired by the popular social game Werewolf, is simple. There are sixteen villagers, three of whom are werewolves. Players have 90 minutes to work together in groups to navigate a series of increasingly difficult puzzles that will help them identify the werewolves, save the villagers, and escape. The game is designed to provide a challenge, and Kato explains that players have direct control over the unfolding narrative, noting

[t]he story unravels with each mystery completed by the players and their teammates. If you do nothing, nothing moves forward. And there are no guarantees that you’re even going to finish everything. So you’re going to have to give it your all if you want to put all the pieces together and finish the final puzzle in time.

Past iterations of Real Escape Game prove that Kato is true to his word: as the Real Escape Game‘s explanatory video states, only 9.6% of participants completed The Escape from the Werewolf Village when it was first conducted at Tokyo Culture Culture, with similar success rates for the game when it played out in Taiwan. After failing to complete a Real Escape Game murder mystery in Tokyo, Japan Times writer Edan Corkill explains “the most difficult part of a Real Escape Game is not answering questions but identifying them in the first place.”

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Peter Weyland Delivers Stunning TED Talk…in 2023?

Sometimes the journey down the rabbit hole is an interesting one. In a recent Twitter post, Damon Lindelof linked to a sound file he deemed “Rad. Just… Rad.” The file in question, available for your listening pleasure at Soundcloud, is a remix which includes audio from a TED talk delivered by Peter Weyland. The message is fairly inspirational, concluding with Weyland’s assertion that he “will settle for nothing short of greatness, or [he] will die trying.” Alas, in this case, a picture tells a thousand words more than the few Weyland used to entertain his captive audience.

Upon further review, the original video was found at a special TED page in which we discover that Weyland looks remarkably similar to Guy Pearce, the wonderful character actor. And lo and behold, the title not only reveals that the TED talk in question occurs in 2023, but that it is “[a] TEDTalk from the future as envisioned by Prometheus director Ridley Scott.” The video adds an additional layer of depth to the talk, picked up by some exceptionally rad hover-cameras that cover the action. And thus the rabbit hole deepens, leading down the trail for a viral marketing campaign for the upcoming film Prometheus.

Quite a few online communities and blogs have been closely following the campaign, and have uncovered a few other interesting, albeit fairly benign, aspects of this particular viral campaign. For starters, there is a fancy web site dedicated to Weyland Corp at weylandindustries.com, which hosts the TED Talk video (don’t miss the bit.ly link displayed on the screen at 0:52, as it leads… somewhere) and provides background information about the company. You can also register as an investor if you’d like to get email updates on the goings-on of the company (which, unfortunate-in-a-suspension-of-disbelief-kind-of-way, clearly come from Twentieth Century Fox US). But wait, there’s more! At the About Us page, there happens to be a flashing light hidden amongst the star field surrounding Earth, and flashing lights often lead to secret sections of websites, no? Without spoiling it for you, there’s a thread at the Unfiction forums where people have done the hard work for you, and the result is a spectacular piece of art not to be missed.

Unfortunately, that’s where the trail ends, for now. The film is set to be released in June, so there are still quite a few weeks for other things to develop, especially as quite a few sections of the Weyland Industries website are suspiciously locked. In the meantime, there may or may not be a glyph puzzle hidden among the images (secret and otherwise) on the Weyland Industries web site, so if you’re holding a flame for the hot new summer blockbuster, this might be right up your alley. However, if you’re simply a fan of awesome and interesting TED talks, perhaps this one is more your style?

Sorcerers of the Magic Kingdom: An Interactive, Location-Based Experience

Sorcerers of the Magic Kingdom is a new interactive experience that debuted on February 22 at the Walt Disney World Resort in Orlando, Florida. Jonathan Ackley, Senior Director and Show Producer Interactive of Walt Disney Imagineering, and his team spent four years designing and producing the game. Ackley gained early insights into interactivity as a game designer at Rocket Science Games and then by designing critically acclaimed adventure games for LucasArts, such as The Curse of Monkey Island, Day of the Tentacle, and Sam and Max Hit the Road. Ackley’s interests in nontraditional, nonlinear storytelling gave him an awareness of the possibilities for integrating new technologies into location-based storytelling.

Before Ackley’s work on Sorcerers, he tested interactive storytelling ideas through the Kim Possible attraction, also at Walt Disney World, treating it as a research and development project on using wireless technology (through Verizon). Ackley immediately saw the advantages that Disney had for environmental storytelling. In an interview with Ackley, he said, “We have themed environments. We are in a unique position to make you the main character in an adventure story. We’re really lucky that we have such great stories and characters to draw from.” The end result is that Sorcerers is an intriguing effort that pushes the boundaries of shared interactive experiences for families with children. Ackley described these experiences as opportunities for players to assume the roles of their favorite Disney protagonists as they make their way through the game. Families can share memories of their favorite films across generations and or create new stories as they play.

The objective of Sorcerers of the Magic Kingdom is to save the Magic Kingdom from Disney villains, including Cruella de Vil from 101 Dalmatians, the Evil Queen from Snow White, Dr. Facilier from The Princess and the Frog, and Scar from The Lion King. These villains were all recruited by Hades, ruler of the underworld and the archvillain from Hercules. Players become apprentices to Merlin, the sorcerer from The Sword in the Stone, who is Hades’ chief opponent. In order to save the Magic Kingdom, players must stop the villains from capturing the shattered pieces of Merlin’s crystal ball.

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Telegraphs to an Alternate World with Tap Joint

A man sits at a Chinese restaurant, sitting in front of a telegraph machine enclosed in a wooden box. Carefully placing a pair of battered headphones over his ears, the unknown man uses a cipher key to decipher the message, “Welcome to the city.” This is the scene that greets visitors to Tap Joint, a curious, new narrative experience that plays out almost entirely over the game’s virtual device. As the man’s conversation with his unidentified correspondent continues, visitors learn more about an unfolding narrative that places its participants directly into the story’s distinctive universe.

Through a series of telegraph messages and video clips, site visitors learn that the unidentified correspondent on the other end of the telegraph is a member of an underground movement committed to resisting their city’s government, the Allied Municipal Patrol. The resistance is hard at work assembling Wave Units—single-channel, one-way broadcasting devices. The group’s goal is to assemble 1,000 of Wave Units in time for Illumination Day, an annual holiday taking place on March 9th. The game’s world evokes a distinctly antiquated feel, with old-fashioned technologies like telegraphs and pneumatic tubes carefully housed in wooden assemblies. Visitors see the world from the unknown restaurant-goer’s perspective, operating the man like a puppet, using their computer’s mouse to pull his strings.

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