Category: Info (Page 3 of 16)

2011 Year in Review: Puzzling Through Half a Year

July 5, 2011 / Michael Andersen

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.Â 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.

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Six to Start and BBC Team Up for “The Code Challenge”

June 28, 2011 / Kris Nordgren

Six to Start and the BBC have teamed up to create a transmedia experience tied in with BBC Two documentary The Code, expected to air at the end of July. The Code is presented by Professor of Mathematics Marcus du Sautoy (Horizon on BBC2, The Beauty of Diagrams on BBC4) and explores how the world around us conforms to and can be explained by mathematical codes. Six to Start are next-generation storytellers with plenty of experience creating storytelling projects for different clients, often in the form of alternate reality games or treasure hunts.Â They’veÂ worked with the BBC before on projects like Spooks: Code 9 and Seven Ages Quest. As a first for the BBC and possibly a world first, an interactive experience called The Code Challenge has been seamlessly integrated in the writing and filming of The Code since inception. Viewers can participate in an engaging treasure hunt which will take place before, during, and after the series that will extend their understanding of basic mathematical principles.

The Code Challenge begins well before the airing of the actual show. Soon, 1000 people in the UK will receive a secret message with one of the first puzzles of the challenge. For a chance to be one of those 1000, keep an eye on Twitter @bbccode and apply via Twitter or e-mail. A few weeks before the show airs, several Flash games containing clues, puzzles, and more information about the Code will also appear online.Â The series itself is expected to air at the end of July and will be split into three 60-minute episodes: Magic Numbers, Nature’s Building Blocks and Predicting the Future. Six clues are connected to each episode. Three will be hidden in the programme itself, which can be watched live on BBC Two or on BBC iPlayer. One community clue can only be solved by working together with a group of players. Two further clues will be revealed on the blog and through a Flash game. Players can then enter the six answers they found for each episode into the ‘codebreaker’ to receive three passwords with which they can unlock the ultimate challenge.

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Dude, Where’s Cesar’s Car? The Super Civic Quest

June 7, 2011 / Michael Andersen

“Â¿Donde parke mi Civic?”

No, this isn’t a scene from the Spanish remake of Dude, Where’s My Car: it’s the call to action for an online puzzle hunt featuring champion Luchador Cesar, whose 2012 Rallye Red Civic Coupe went missing prior to his title match with el Burrito Caliente. As the online quest’s video explains, “the shiny red Civic Coupe was last spotted on YouTube but of course, by now, could be anywhere out there on the world wide interweb.” Complete the 25 puzzles, and you could win Facebook Credits, Amazon music downloads, and even brand new Honda Civic LX Sedans for you and your “bestie.”

Upon starting the Super Civic Quest, players are asked to join the team of one of five eccentric and distinct characters: Jack the Urban Woodsman, Mitch the Zombie Salesman, Teeny the college coed Monster, Aiko the Ninja, or Cesar the Luchador. Players are then asked to hunt through an impressive array of partner sites: expanding beyond the Facebook-YouTube-Twitter social media triumvirate, puzzle content has infiltrated sites like Pandora, Yelp, FailBlog, Foodily, I Can Has Cheezburger, and The Daily Monster. Custom microsites ask players to wear an augmented reality Luchador mask, download ringtones, monitor an online security camera, and read an eBook.

2011 Year in Review: Around the World in the First 90 Days

April 2, 2011 / Michael Andersen

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.

Industry News
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.

SXSW 2011: Fan to Fanatic: True Bloodâ€™s Marketing Hook

March 21, 2011 / Dee Cook

Full disclosure: Dee Cook, a former associate editor at ARGNet, was employed by Campfire to work on Seasons One and Two of the True Blood marketing campaign. She also attended a SXSW panel dedicated to the campaign, and graciously agreed to post a summary of the conversation here.

Some readers may recall a buzz back in 2008 when various bloggers began receiving mysterious dead language mailers and posting about them. These mailings served as the beginning of a marketing push for HBOâ€™s True Blood, which premiered on the small screen later that summer. Representatives from some of the agencies involved in the campaign’s creation joined an HBO executive, aÂ True Blood fan site co-owner to describe how it all happened during the SXSW panel, Fan to Fanatic: True Bloodâ€™s Marketing Hook on March 11, 2011.

Zach Enterlin, Senior Vice President of Programming for HBO, explained that the True Blood experienceÂ wouldn’tÂ have been possible without the vision of Alan Ball, the show’sÂ creator. Ball brought the show to HBO after the end of the hit Six Feet Under, and asked them how they could educate viewers about Bon Temps, Louisiana, as well as a world where vampires exist and live among us. Enterlin, a long time follower of Campfireâ€™s work, brought this dilemma to them. Campfire jumped in with enthusiasm: Enterlin recalled that Brian Cain read all six books published at the time in the space of one weekend. Campfire wasn’t working alone. In fact, season one had ten agencies working on the campaign, and the HBO marketing machine was strongly backing the project. Enterlin credits the gusto all the vendors had for the work for how coherently so many different moving parts were able to move together. It just worked, he said, because everyone was on the same page together.

Season two of True Blood saw some unusual partnerships between the show and brands like Geico, Harley Davidson, and Monster.com. Todd Brandes from Digital Kitchen explained that the team decided that if vampires were living out in the world, then they could be marketed to: so they ended up cold calling some 30 different brands, resulting in seven brands that were eventually used in True Blood-themedÂ banner ads. Â Alan Ball nixed one of the brands, a gum maker, because he argued vampires did not chew gum.

Fourth Wall Studios Experience Infusion of Cash, Talent

March 8, 2011 / Michael Andersen

Earlier today, Fourth Wall Studios announced it received an initial $15 million round of financing from Dr. Patrick Soon-Shiong, along with access to a fund of up to $200 million through the Soon-Shiong’s California Capital Equity. VentureBeat reports that the “studio will be incorporated as a new company under the same name.” A number of prominent alternate reality game developers including Steve Peters, Maureen McHugh, Jay Bushman, and Jackie Turnure have announced they have joined this new company, which stakes the claim as the first Alternate Reality Entertainment (ARE) studio.

Fourth Wall Studios was founded by alternate reality gaming powerhouses Elan Lee, Sean Stewart, and Jim Stewartson after the three stepped down from 42 Entertainment. After departing 42 Entertainment, the three worked on projects including Watchmen‘s 6 Minutes to Midnight, Eagle Eye: Free Fall Halo 3: ODST‘s in-game experience Sadie’s Story. In an interview with Jawbone TV, Modernista revealed Fourth Wall’sÂ involvement in the Dexter alternate reality game as well. Now, with additional funding from Soon-Shiong, Fourth Wall aims to extend these immersive storytelling techniques to mainstream audiences by enabling the interaction with fictional worlds using mobile devices, browsers, and social networks. The studio plans on developing original content and content made in partnership with top-tier creators from film, television, video games and publishing. These experiences,Â according to the Los Angeles Times, would be financed through sponsorships and micro-transactions.