In the tarot card deck of Talbot Griffin’s life, the first card on the table would most likely be The Fool, that familiar vagabond traveler blithely setting out into the unknown. Scrolling through his social media accounts, Griffin’s audience can piece together a whimsical portrait of a happy-go-not-so-lucky young musician whose life has hit a few bumps in the road. After making a pilgrimage to Jim Morrison’s grave in the Paris cemetery Père Lachaise, Griffin returned to New York City to find his life taking a sharp curve. His girlfriend leaves him. His boss fires him. And he’s got to find a new place to live. What’s a rising superstar musician to do? “Borrow” his grandfather’s ’67 Mustang and take a cross-country road trip to Los Angeles, where fame and fortune await him, of course!
As Griffin travels, elusive song lyrics distract and disturb him, a cut on his arm festers and refuses to heal, and the same creepy hitchhiker mysteriously appears in several stops along the way. Where is Talbot Griffin really going, and what waits for him at the end of the road?
Described by its creators as “a ghost story for the digital age,” Dark Detour, the tale of musician Talbot Griffin and his travels, is a comedy-horror tale that makes use of several social media platforms, allowing the audience to follow Talbot Griffin’s harrowing adventures in real time. The interactive ghost story will wrap up on Halloween, and comes with its very own safe word – MIMEKILLER – that audience members can use to opt out of the experience at any time if it becomes too intense.
This independent project is produced by a creative team led by Alison Norrington of StoryCentral and Steve Peters of No Mimes Media, along with creative consultants Brian Clark, Jan Libby, Blair Erickson, and Mike Monello. Peters and Norrington raised funds to produce the project through an Indiegogo campaign, with Clark, Libby, Erickson, and Monello added to the team through the campaign’s stretch goals. Perks for campaign backers included postcards, dashboard hula girls, project consultations, and “a personalized phone call to scare the crap out of you on or around Halloween night.”
Tens of thousands of years ago, mankind’s earliest civilizations were visited by extraterrestrial beings. Due to their superior knowledge and technology, these early visitors were treated as gods. Native Americans knew them as the Sky People. To the Sumerians, they were the Annunaki. Whatever they were called, these visitors came to earth and instructed mankind, leaving behind countless monuments behind. At least, that’s what some people claim. The theory commonly referred to as the “ancient astronaut hypothesis” serves as the foundation for a cross-platform collaboration between James Frey’s Full Fathom Five, HarperCollins, Google’s Niantic Labs, and Fox Searchlight.
According to Endgame‘s legend, Earth’s ancient alien visitors warned mankind that they would return one day for a reckoning known as Endgame. Some believe it to be a punishment for squandering the aliens’ enlightenment, and straining earth’s resources, while others view it as a method of selecting a favored sub-section of humanity for preservation. Whatever the cause, the nature of Endgame is clear: twelve of the most ancient civilizations must select a teenager to represent their society in a deadly treasure hunt where failure means death — the only survivors of Endgame are the members of the winning civilization. For thousands of years, the twelve societies have been training potential representatives from birth to save their people, in case Endgame should fall to their generation. Finally, after over thirty thousand years, twelve meteorites touched down, signaling the beginning of Endgame, and twelve teenagers started their journey to locate three keys hidden across the globe.
This narrative serves as the core of the Endgame experience across every platform. However, people interested in exploring the world of Endgame are presented with a number of dramatically different ways to interact with the story. For players looking for a solitary experience, puzzles infused into the novel leads to the secret to unlocking approximately $500,000 in gold coins kept on display at Caesars Palace in Las Vegas. For those looking for a more social gaming experience, an alternate reality game delves deeper into Endgame‘s backstory, while an upcoming mobile app allowing players to take the conflict to the streets in a competitive, PVP style of gameplay.
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.
Sometime in the near future(s), something will go awry with the voicemail system sending messages spiraling back through time, a phenomenon that is being referred to as “chronofall.” These messages take the form of small, elegant crystalline structures referred to as “chronofacts” that can be decoded to reveal a taste of life in the future. But these chronofacts aren’t just coming from “the” future: chronofacts carry voicemails from the cloud of all possible futures: happy futures, bleak futures, unimaginable futures. A new project called FutureCoast and its “Coaster” enthusiasts seek to collect as many chronofacts as possible, with the goal of cataloging and organizing them into coherent glimpses of the possible futures awaiting us. And when the next big chronofall happens in February, they’re going to need your help.
FutureCoast, set to launch on February 5th, 2014, is the latest project by veteran game designer Ken Eklund. Like its predecessors World Without Oil and Ed Zed Omega, FutureCoast aims to open the doors wide to a new kind of conversation about the world we live in. This time, the subject is one of the most polarizing topics, the kind of thing you don’t usually want to bring up in mixed political company: climate change and one of its key indicators, rising sea levels.
Climate change, its effect on polar ice, and rising sea levels are topics that spawn impassioned opinions and difficult discussions from many different scientific and political angles. The heart of the FutureCoast design seeks to create a playful, inclusive common ground where information and idea sharing happens, where everyone’s thoughts about the future have a place, and where a meaningful dialog and a common ground can be created to replace the animosity that these topics can evoke.
The project is funded by a grant from the National Science Foundation to Columbia University’s Polar Partnership. Eklund dates the idea of FutureCoast back to a conversation with Dr. Stephanie Pfirman, Professor of Environmental Science at Columbia, in 2009. Dr. Pfirman, interested in the idea of World Without Oil, wondered what a climate change game look like, and Eklund began working on prospective ideas for a WWO-like game that would encourage conversation about climate change and rising sea levels. FutureCoast was accepted into the NSF grant, and work on the project began in earnest in 2011.
FutureCoast‘s structure is almost “retro” in its conception, elegant in its simplicity yet with the potential for powerful collaborative storytelling to take place. The premise of the overarching story hinges on voicemails that filter to our present from the near or distant future(s) that can be decoded, collected, and shared. FutureCoast invites its audience to pluck their personal vision from among all the possible futures and share it in a voicemail. The audience will also be able to create playlists – mix tapes, Eklund playfully calls them, and officially named “Timestreams” – by choosing amongst the voicemails and piecing them together into a kind of narrative of the future. Through FutureCoast, players have the ability to both create the future and to curate it in meaningful ways.
When Six to Start created Zombies, Run!, players were given the chance to plug in a pair of headphones and lose themselves in a rich narrative, where you’re asked to run to survive. And while Zombies, Run! doesn’t require its players to run, the story and many of its game mechanics are built around promoting running. After receiving feedback from fans of the game who aren’t avid runners, Six to Start and Naomi Alderman partnered with the UK Department of Health and National Health Service to release The Walk for iOS and Android devices earlier today.
Like Zombies, Run!, the primary feature of The Walk is its narrative, designed to provide audio accompaniment to your walking routine. Mere minutes before an apparent terrorist attack on a train station in Inverness, the player is given a package and told that it is of vital importance the package make it to Edinburgh. The attack is initiated by a group called The Burn and contains an EMP (Electromagnetic Pulse) which takes out all electronics, including all transportation and communication. After escaping from the train station, the package is opened and revealed to be a communication device capable of functioning after the pulse. The person on the other end becomes your guide through the chaos as you make your way on foot to deliver the package to Edinburgh.
Game enthusiasts are all about the games they play being “realistic,” with higher resolution graphics and smarter AIs. One of the more alluring features of alternate reality games is their ability to blur the lines between reality and game to the point where you question where one ended and the other began, exemplified through the “TINAG” (This Is Not A Game) philosophy. Of course, we all knew it was just a game, but hid that knowledge away back in the “suspension of disbelief” part of our brains, and let ourselves believe it was all real. But what if we could experience a game that was so real, you honestly didn’t know what was game and what was real? David Cronenberg would like to offer you an opportunity to do just that, via a personal on-demand biotech recommendation engine (“POD”) designed to enhance your everyday experience.
If this sounds familiar, it’s because it draws on the plot of past Cronenberg films like eXistenZ, where players of a game would use gamepods, flesh-like instruments that allowed them to “jack into” and interact with the game on a real-time. Now, Cronenberg has joined forces with Body/Mind/Change Labs to create PODs similar to the ones in the movie, and you are encouraged to sign up for your own.
In Lance Weiler’s Culture Hacker column in Filmmaker Magazine, he states Cronenberg has “quietly licensed the fictional technology and science found within his films Shivers, The Brood, Scanners, Videodrome and eXistenZ for a mind-bending eight-figure sum.” Reporting from the BMC Labs building in Venice, CA, he describes the lab as looking like “something out of a sci-fi film” and describes the company’s previous biotech achievements and their goal “to enhance humankind by harnessing biotechnology to make us smarter, faster and more efficient.” Cronenberg himself released a trailer describing the POD and his collaboration with Body/Mind/Change Labs.
Dig a little deeper and the truth becomes evident – Weiler’s article is the opening salvo for a digital extention of the Toronto International Film Festival’s (TIFF) David Cronenberg: Evolution exhibit set to debut in November 2013 and run through January 2014, and includes “artifacts, props, documentation and audio-visual interviews, as well as reconstructed set-pieces from Cronenberg’s films”. The Body/Mind/Change experience is co-produced by CFC Media Lab and directed by Lance Weiler (Head Trauma, Pandemic, Reboot Stories), and “features plot lines and game mechanics involving biotechnology start-ups, body enhancements, and emotional learning systems.”
According to the project’s press release, the experience is scheduled to launch on October 25th, but there is plenty to do and see while you’re waiting. Visitors to the BMC Labs website are encouraged to sign up for their own POD. After signing up, registrants are presented with a confirmation page hard-coded with a message congratulating them for being “8,743 of 137,234 in line for a POD implant.” The website’s POD Challene page, which is currently “OFFLINE” displaying a field of static, hints at things to come later this month.
Check out the discussion of Body Mind Change on the Unfiction forums to see how the project evolves, and schedule your trip out to Toronto to see the installation for yourself to get the full experience.