Ingress at a ZipCar location in Philadelphia. Sorry Ingress players, this is not a new passcode.
It’s been over a year since Google introduced the world of Ingress. At its core, the project is a locative mobile game spawned out of NianticLabs@Google, an internal skunkworks team based out of the search giant’s San Francisco office. In Ingress, players compete to capture and connect virtual portals situated at real world locations to control the globe for their team. Ingress isn’t the first game to explore this geolocative game mechanic: games like Plundr and Shadow Cities paved the way for Ingress by conditioning “field agents” to take mobile gaming out to the streets. What makes Ingress distinct is Niantic’s narrative ambitions: in the past year, daily updates from the production team through an alternate reality game have introduced players to a sprawling narrative told across websites, videos, novels, live events, and even hidden within the game itself.
Ingress recently opened up to all Android users, and plans to expand out to iOS devices in 2014. With over a year of story to catch up on, entering the world of Ingress may seem daunting. Familiarity with the story isn’t essential to gameplay, but it does add staying power to a game that runs the risk of turning tedious over time. For those looking to take the plunge, here’s a few helpful pointers.
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.
A sharply dressed man and woman are lost on an empty stretch of road, with no memories of who they are or where they’re going. The only clues to their identity are the personalized features programmed into their car, and your phone number in their phone’s call history. The nameless man calls your number. For the next 15-20 minutes, you’re tasked with guiding the pair as they retrace forgotten steps, piecing together their past lives and their current predicament.
Welcome to Deja View, a visually stunning interactive film produced by Campfire to promote the Infiniti Q50, that delights in throwing you into the center of a mystery with characters as confused as you are. The experience (limited to United States residents) begins at infinitiusa.com/deja-view. After watching a brief explanatory video and calling a number to sync up your browser and your phone, voice inputs on the phone can direct what video content plays out in real time, creating the illusion of natural conversations with your fictional on-screen collaborators.
As Deja View progresses through the story’s three main narrative checkpoints, you’re led on a seemingly simple, linear journey. Once or twice per session, you receive a phone call from one of the characters and are asked to respond to a few simple questions: say you’ve spoken with the man before, or deny it. Go to the gas station, or to the diner. Your answer changes how the video progresses, while still driving you inexorably towards a happy ending where the pair free themselves from the loop that has them trapped. The only challenge? One of the central themes of Deja View that enables you to reach a successful conclusion to the story is the idea of eschewing the well-worn path, and breaking free from constraints. You can’t complete Deja View without convincing the on-screen characters to go against their own instincts, but the story rewards you for taking the easy path with a happy ending. The message is conveyed, but you aren’t forced to live it as a co-conspirator.
To address this potential for cognitive dissonance, Deja View has secret narratives that are only exposed to people who resist the easy answers. Ask the right unprompted question, and you might ferret out some additional information about why the pair are stuck in a loop. Make a conscious effort to thwart their journey, and you might make one or both of the characters lose trust in you and each other, irrevocably altering their path. It’s not easy, and most of the changes you make only have a small impact on the overarching narrative. But push the edges enough, and you’ll take things in a completely different direction.
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.
Pemberley Digital’s The Lizzie Bennet Diaries recently took home a Creative Arts Emmy for Original Interactive Program for its web adaptation of Jane Austen’s Pride and Prejudice. The web series reframed Austen’s classic in a modern setting, allowing the characters to live out their fictional lives outside the show’s main YouTube channel, interacting freely across dozens of social media platforms. On October 7th, the team at Pemberley Digital will be returning to play in Jane Austen’s universe with the release of their next major production, Emma Approved. But between The Lizzie Bennet Diaries and Emma Approved, Pemberley Digital turned to one of Jane Austen’s lesser-known works for an experiment in transmedia storytelling with Welcome to Sanditon.
As one of California’s many Gold Rush boomtowns, the town of Sanditon California was no stranger to rapid change. In The Lizzie Bennet Diaries, William Darcy’s company Pemberley Digital developed an experimental video recording platform, Domino. Sanditon’s mayor Tom Parker met up with Gigi Darcy at SXSW, and signed up his town as a partner community, giving interested townsfolk the chance to share their lives on the platform through blogs, pictures, and videos. Mayor Parker’s aspiration for Sanditon was to transform the city into a vibrant, health-conscious vacation spot, and much of the plot revolved around complications that arose for townsfolk and business owners when the mayor’s idealized version of the city conflicted with its reality.
This comes to the fore through the story’s main plotline, following the interactions between Sanditon Scoops owner Clara Breton, whose ice cream parlour is targeted for a mayoral-encourage rebranding to juice bar, and Parker’s reluctant assistant Edward Denham, who shows a delightful passion for obscure British television. Glitches in the early release of the Domino platform also resulted in bringing a budding romance between the two to the town’s attention, resulting in equal parts consternation and glee. While Gigi Darcy has largely stepped into the town to serve as an embedded narrator, Welcome to Sanditon allows her to complete her own narrative arc. Executive producer Jay Bushman viewed Gigi’s character as the strongest test cases for transmedia storytelling in The Lizzie Bennet Diaries, making her reprisal through Welcome to Sanditon the end of an 18-month long journey.
Last year, William Sawtooth III embarked on a great experiment: he sold off 100 shares in his personhood in exchange for a billion dollars. Being a savvy investor, I managed to secure a 6% interest in Sawtooth prior to his untimely demise at the hands of a masked henchman from the Secret Games Society. Yesterday, I received word from Sawtooth’s legal counsel informing me that Sawtooth’s death was confirmed after a thorough investigation, and my shares were reverting back to the Mega Hard Wood Group Board of Directors. As a courtesy, the Board sent me a framed certificate commemorating my brief status as a Majority Stockholder. They also unknowingly sent out an invitation to this year’s FestQuest, an annual puzzle hunt held during ARGFest.
Sawtooth’s misadventures in personal corporate governance were the focus of the alternate reality game Boom the Moon, an extension of Steve Peters’ crowdsourced alternate reality gaming thought experiment World Without Helium by Synth-Bio Productions. For two weeks, players tricked Sawtooth’s silent investors into handing over their shares to prevent a plan to use Sawtooth’s newfound wealth to solve the impending helium shortage by detonating a nuclear bomb on the moon’s surface. Players secured a majority stake in William Sawtooth III, and staved off plans to blow up the moon. While celebrating the win, Sawtooth was shot and presumed dead. The correspondence from the Mega Hard Wood Group only served to confirm that presumption, pronouncing his death a suicide.
After closer inspection, I discovered an invitation to FestQuest 2013 slipped in between the certificate and the frame’s backing. The secret message cordially invited me to join the Sawtooth Circus in Seattle on July 27th. Sawtooth also offered his handwritten assurance that “the reports of my death are greatly exaggerated.” It also included an introductory puzzle to whet players’ appetites for the main course this weekend. The return of William Sawtooth III should be an exciting one for ARGFest attendees, as Sawtooth is one of the most colorful characters in alternate reality gaming to break the fourth wall I’ve seen.
Synth-Bio Productions is resurrecting Sawtooth through their role as host of this year’s FestQuest. Pre-registration for FestQuest is mandatory this year, with groups of 10 asked to provide their email address along with a “Circus Name”. The experience is only available to ARGFest attendees, and is expected to take approximately 2 hours to complete.