Emma Wilson’s journal, on digdecoded.com
The premiere of Dig, Tim Kring and Gideon Raff’s newest thriller on USA Network, DIG, is only two weeks away. But in many ways, the 10-episode series remains an enigma. In DIG, FBI agent Peter Connely (played by Harry Potter veteran Jason Isaacs) is stationed in Jerusalem, and finds himself tangled in a 2,000 year old conspiracy while digging into the murder of a young American. Beyond that, there are only tantalyzing trailers hinting at something hidden in the Promised Land to whet the appetite. Fans will just have to wait and see where the producers of Heroes and Homeland will be going with the mystery…unless, of course, the answer can be found buried deep within the show’s alternate reality game, DIG Decoded.
The DIG promotional engine has been revving up for a while now, with an official prequel novella posted to Wattpad that introduced the curious to Connely’s previous case for the FBI, tracking down the cyber-criminal known only as “Akula” for the theft of $25 million from the US Treasury across the streets of Jerusalem. The tale introduces Connely to the reader, along with Jerusalem’s FBI office head Lynn Monahan (played by Anne Heche) and Israeli detective Golan Cohen (played by Ori Pfeffer). USA Network announced a series of room escape games that will provide further insight into the world of DIG, with free puzzle adventures going live in New York, Boston, Philadelphia, Hollywood, and Orlando starting February 26.
Many of the transmedia storytelling elements for DIG are scheduled to build up hype for the show’s March 5 launch, but the DIG Decoded alternate reality game that launched on February 19 is set to run in parallel with the show, with weekly installments adding to the narrative through the show’s May finale. While DIG‘s Wattpad story introduced fans to the show’s major players from law enforcement, the DIG Decoded alternate reality game prominently features the show’s archaeological cast. The story begins through the lens of a journal compiled by archaeologist Emma Wilson (played by A Fine Frenzy’s Alison Sudol), whose story drives the initial narrative. In the introductory chapter of the ARG, a series of photographs, news clippings, text messages, journal articles and videos follow Wilson from her fellowship at the University of Pennsylvania to participate in a dig at the Temple Mount, one of Jerusalem’s holiest locations.
Cards Against Humanity doesn’t approach its marketing efforts like most companies. Nominally, they sell a highly irreverent card game where players compete to find the most outrageous response to a prompt from their hand of cards. In practice, the Chicago-based company has used its past successes to finance a series of elaborate pranks to entertain its ardent fanbase and transform purchasing a casual party game into an experience…which is a good thing, since they give the game away for free on their website (some printing required). Two years ago they celebrated the holidays with a pay-what-you-want expansion pack, and then released an infographic breaking down how much people paid and donating the proceeds to charity. To encourage players to buy the expansion sets, the company sold an extra-long box for holding the game, The Bigger Blacker Box, to store the cards. Without telling anyone, they hid a secret card in the inner lining of the box. For their Black Friday sale last year, they increased prices. When they took out advertisements at last year’s PAX East, they used the platform to promote their made-up company, PWNMEAL: Extreme Gaming Oatmeal.
All of these efforts pale in comparison to the company’s Holiday Bullshit campaign. Last year, Cards Against Humanity asked 100,000 people to give them $12 in exchange for 12 mystery gifts from the company as part of its 12 Days of Holiday Bullshit. As thanks, the company donated $100K to DonorsChoose.org, sent out an early edition of a sex party-themed card game, mailed limited edition customized Cards Against Humanity cards, and even sent fans a lump of coal. And hidden within each mailing? A fiendish puzzle that took fans working together on Reddit’s holidaybullshit subreddit months to solve. Holiday Bullshit is back once more, promises to deliver an even harder puzzle than before.
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.