Image courtesy of the BBC
On September 10, 2011, Pete Ryland cracked The Code and took home the coveted prize, a unique bronze and silver mathematical sculpture by Bathsheba Grossman. The lead-up to the tense finale was a collaborative transmedia treasure hunt centred around the three-part BBC2 show The Code, presented by Marcus du Sautoy. The game was designed by Six to Start, working with the BBC from the beginning to integrate clues and puzzles seamlessly within the broadcasts.
Before the first airing of The Code on July 27, about 700 postcards were sent out with an image and a code. Collaborating on Facebook, participants in this first stage soon discovered that each postcard image was a thin horizontal slice of a three-dimensional Platonic solid. Several of these “perfect” shapes then had to be combined and arranged into three concentric spherical shells – revealing the complicated nested sculpture that would be the grand prize.
Now the hunt could begin in earnest. The main stage of the game was intricately connected with the three episodes of the show: Numbers, Shapes, and Prediction. For each episode, participants discovered three clues: one by watching the program, one clue by playing related Flash games on the website, and one clue by solving a puzzle described on the blog. They also had to complete the Prime Number Challenge as a group, which involved uploading photos of all 305 prime numbers from 2 to 2011 to collectively receive the sixth clue for each episode. The six clues were then entered into a codebreaker to reveal three passwords, which granted access to the next stage of the game: The Ultimate Challenge.
For the next few weeks, Los Angeles residents have a chance to do something many of us can only dream about: a little time traveling, courtesy of Superfreako Productions. Participants in time/trip LA are tasked with finding strategically placed QR codes located in 8 shops and stores around the Hollywood area, starting at Meltdown Comics on West Sunset Boulevard. The QR codes unlock a series of videos revolving around time travel. The time/trip LA experience follows Katie and Kelly as they travels through time and space that guides participants through short films keyed to each location.
As part of the experience, time/trippers can submit five pictures of themselves with the QR codes for a chance to win swag from some of the participating retailers. Spoiler-ridden details about the sweepstakes explain the rules and prizes, but players in the LA area are advised to get moving: the contest ends at 11:59pm on August 31.
It’s worth noting that time/trip LA is not Superfreako’s first foray into the crossmedia storytelling space. One of its earliest attempts is the Last Days Journal, a social media storytelling site for survivors of a zombie apocalypse that launched in 2007. While Last Days Journal was created to support a project that was never developed, the survivor site still “lives” on.
Between 2008-2009, Superfreako worked with Benji Schneider to create The Society for Linian Studies, an art project with alternate reality gaming elements including a live lecture event at the Velaslavasay Panorama and an exhibition of related artifacts at San Diego State University. Having followed along with The Society for Linian Studies, I was impressed with the high production value of the artifacts, acting, and other assets for the project. According to Chad Kukahiko, Creative Director of the superfreakos, “it was fun as hell working on a piece of art so ridiculously original.” The idea of dueling institutes that permeated the narrative, along with the characters and story elements surrounding the Linian Society, was the brainchild of his friend and former coworker Benji Schneider. For the The Society for Linian Studies, ”the plan was to was continue to do mini-ARG installments perhaps 2 to 3 times a year,” but Schneider’s growing commitments to his band Lord Huron forced the team to modify the game’s plans.
The planning process for The Society for Linian Studies provided the inspiration for time/trip LA: not in terms of story world or plot, but in terms of techniques and technology. As Kukahiko explained to me: “The initial concept from which time/trip grew was a vague QR code wild posting dystopian-themed ARG off-shoot I was tooling around with in my head — something I was actually hoping to bring into the Linian Society fold.”
It’s been three months since ARGNet’s first look back at this year in alternate reality gaming, putting over half of 2011 behind us. Alternate reality games have continued to insinuate themselves into pop culture, spanning movies, television, music, video games, and books. The genre has stretched out beyond the entertainment industry to support social causes, provide more enriching museum-going experiences, and even sell packs of chewing gum. During the past three months a number of major campaigns have come to a conclusion, to be replaced by a number of tantalizing prospects. Read on for a few highlights from the quarter.
Growing up, my parents had me convinced that one of the local librarians lived the building’s basement. For years, Jim Caccamo was an archivist at the Hudson Library and Historical Society, and spent countless hours preserving the library’s collection of artifacts. He spent so much time there, it was a relatively simple matter for the librarians, with a little help from our parents, to convince many younger library patrons, myself included, that he never left the building. I suspect that one of the reasons we were so willing to believe this local urban legend was because the prospect of staying overnight at the library with all of its artifacts from history was such an exciting one. Sadly, Jim is no longer with us, but the legend he inspired stuck with me through the years. On May 20th, the New York Public Library invited five hundred people to stay overnight as part of the Centennial celebration. I was lucky enough to be one of the attendees at the launch of Find the Future, letting me live out the fantasy Jim planted in my head so many years ago.
Find the Future is a game developed by Jane Mcgonigal and her husband Kiyash Monsef along with Natron Baxter Applied Gaming and Playmatics, on behalf of the New York Public Library. The game itself involves a mobile scavenger hunt to discover one hundred artifacts including a fireproof copy of Ray Bradbury’s Farenheit 451, Malcolm X’s briefcase, the stuffed animals that inspired A.A. Milne’s stories of Winnie-the-Pooh, and Charles Dickins’ letter opener with a handle made from his cat’s paw. QR codes near each object can be scanned in using iPhone and Android apps to unlock writing prompts that ask players to think about their futures. The game provides individuals with a casual way of exploring many often overlooked details of the library along with prompts designed to make visitors think about how each artifact is relevant to their own lives. Interacting with the experience is a deeply personal, contemplative experience that plays out over time as players gradually return to the library and post their responses online. Players are rewarded with points for unlocking artifacts and submitting stories, allowing them to level up their writer level and receive achievement badges. Players can then assemble their favorite stories into an online Epic. Visitors to the public library can play the Find the Future game through the end of the year.
The Write All Night event invited 500 players to experience an intensely collaborative version of the Find the Future game. Players were selected from a pool of 5,000 entrants who explained what they would accomplish by the year 2021. The goal for the night was to create a 600-page book collecting player responses to each artifact prompt between 7PM on May 20th and 5AM on May 21st: in turn, the library promised to preserve and protect the book as long as New York City exists. Paper Dragon Books’ Gavin Dovey was on hand to bind the entries into a book before the night’s end, and editors made themselves available to help participants polish submissions. Before the event started, McGonigal assured players, “we have not rigged this game so you will win: it’s up to you.”
It’s been a little over 90 days since I wrote a Year in Review article on the state of alternate reality games in 2010, and 2011 is already shaping up to be another busy year. Read on for a summary of some of the major news items to hit ARGNet’s radar.
One of the most celebrated news items to date occurred when Fourth Wall Studios announced that it received $15 million in financing to expand into an alternate reality entertainment studio. Previous companies that secured multi-million dollar investments to enter the cross-platform market like Smith & Tinker and Mind Candy departed from their roots in alternate reality game development to focus on virtual worlds, creating Nanovor and Moshi Monsters, respectively. A recent job posting by Fourth Wall Studios indicates that the company will be retaining its roots in transmedia and alternate reality gaming development, describing the company’s games as “massively multiplayer online games and enhanced reality worlds on transmedia technology platforms” that will serve as “scalable alternate reality entertainment experiences.”
Area/Code Games experienced its own transformation in January when it was acquired by Zynga, the team behind Facebook games ranging from FarmVille to Mafia Wars. Area/Code is a familiar name to fans of alternate reality games for its work on Drop7, an insidiously addictive puzzle game that stole hours of my life away. The game was introduced as part of Chain Factor, an alternate reality game that launched during an episode of Numb3rs. After the ARG’s completion, the casual game at its heart was rebranded as Drop7. In addition to alternate reality games, Area/Code has developed a number of augmented reality games like Plundr that use geolocative data as a factor in gameplay, encouraging players to play in different locations. Area/Code is one of Zynga’s many acquisitions over the past few months, but may signify Zynga’s interest in bringing alternate reality games and augmented reality to the Facebook audience.
Finally, transmedia and alternate reality game developers may have a new source of financing for their projects now that the Tribeca Film Institute has established a New Media Fund to promote cross-platform storytelling as a means of promoting social change. In its first year, the fund will support non-fiction projects by providing four to eight grants of $50,000-$100,000.
Andrea Phillips has excellent qualifications to talk about ethics in transmedia. In addition to designing a number of transmedia narratives, she, or rather, one of her transmedia campaigns, has been condemned by NASA. In 2009, Sony Pictures launched a website for The Institute for Human Continuity promoting 2012, their disaster movie for the year. Soon after the website’s launch Dr. David Morrison of NASA’s Astrobiology Institute began receiving emails about the site from people who failed to notice the references to Sony Pictures and the film in both text and logos, leading him to declare the site to be “ethically wrong.”
This was not the first time Phillips encountered ethical quandaries in transmedia. Her interest in this issue began in 2001, after finishing an alternate reality game called The Beast. Shortly after the game ended, a smart, empowered, close-knit group of players behind who call themselves “Cloudmakers” were faced with the events of September 11. In the aftermath, some of the Cloudmakers discussed the possibility of combining their skills again, this time to track down the perpetrators of the attack in the real world. This was a source of concern for Phillips. Following a breadcrumb trail of clues in a game does not equate to the skills for dealing with global terrorism. She and other feared that people trying to “solve” 9/11 would in fact be placing themselves and others in danger.
Phillips prefaced her talk with the disclaimer that, while she intended to share some cautionary tales from the history of alternate reality games and transmedia campaigns, her intent was to highlight concerns, not call anyone out on their mistakes or cast aspersions on the campaigns or the industry in general.
So, what are the ethical concerns that today’s transmedia creators should keep in mind? In her talk, Phillips took the audience through some history of attempts at blurring the line along with more than a few war stories, focusing on the risks and consequences of excessive realism in transmedia campaigns. She followed this up with some suggested solutions.