Category: Reviews (Page 8 of 13)

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.

Patrick Carman Grabs Young Readers with “Trackers”

February 23, 2011 / Michael Andersen

Adam Henderson is a technical wizard. Growing up working and tinkering at his father’s computer repair shop located in the shadow of Microsoft meant Adam had access to the latest and greatest technology. By fifth grade, Adam was engaged in white-hat hacking, finding and reporting security holes to companies. By sixth grade, his attention focused on Trackers–spy devices cobbled together from video game controllers, cameras, joysticks, and even remote-controlled cars. Adam called upon three of his friends to test these Trackers, not knowing that the four would quickly get sucked into a world of crime obscured by layers of subterfuge and deceit. This is the world of Trackers, a multimedia book series by Patrick Carman that almost seamlessly weaves short cinematic sequences, puzzles, and video games into the reading experience. As with Carman’s previous books, these elements emerge organically from the narrative, playing an essential role in the story’s development.

The two books in the series, Trackers and Trackers: Shantorian, are framed as the transcript of an FBI interrogation conducted by special agent Gantz. As Adam recalls the events that led to his arrest, he periodically provides Gantz with codes to access multimedia files he prepared to support his story ranging from site rips of websites he encountered to video footage recorded using his team’s Tracker devices. Readers can enter these codes on the Trackers Interface or read the text transcripts Gantz entered as appendices to the FBI’s interview transcript, located at the back of the book. While this process may sound complicated, in practice reading Trackers is fairly straightforward: every time you see a code, either go online to watch the action unfold, or read the text transcript if you don’t have internet access.

I recently had the opportunity to discuss the series with Patrick Carman, who explained, “Kids will find a way to get to the material. Kids don’t have a problem with stopping and starting . . . that’s the way they’re wired.” This non-traditional reading experience appears to be resonating with young audiences. According to Carman, the online videos from Skeleton Creek, his previous multimedia book series, received over eight million views. Carman referenced receiving “…hundreds and hundreds of emails from educators, librarians . . . talking about how these kinds of formats are helping to bring readers that we had lost back to books.” Readers are becoming similarly entangled with the mini-games created for Trackers, competing to earn top scores. The scores have become so high, in fact, that the PC Studio team has been “trying to figure out over the past couple of months if there’s some way that [players are] hacking this thing so that they’re able to get these kind of scores, and we cannot figure out how that’s possible . . . the top three or four people are way beyond what we can do here at the studio.”

A Look Back at Lewis Hamilton’s Secret Life

January 22, 2011 / Jane Doh

As reported previously at ARGNet, sexy Formula 1 racer Lewis Hamilton had been leading a double life: when he’s not out leaving his competitors in the dust, he’s recovering stolen art and returning them to their rightful owners. According to Hamilton, he just can’t “resist a challenge,” and after his first recovery heist, he was hooked. Soon he assembled a crack support squad, including logistics expert Anna Chao, professional lookalike Lenny Rose, and his trainer Joe . . . and about 637,000 enthusiastic players from all over the world.

Lewis Hamilton: Secret Life was the epic international game created byÂ nDreams for Reebok. Building on nDreams’ experience creating the Xi, the highly regarded alternate reality game for the PlayStation Home, Secret Lewis ran from March to November 2010, included numerous online assets, and entertained players from London to Abu Dhabi. Based on the reactions of players, some of whom flung themselves full-speed into the game world, Secret Lewis was one of the most engaging, interactive, and exciting games of 2010.

But what accounted for this success? Looking over the whole campaign, this article will try to figure out what made the game tick and explore how Secret Lewis can serve as a model for future alternate reality games.

A Commentary on Jane McGonigal’s New Book, “Reality is Broken”

January 17, 2011 / Michael Andersen

In 2008, Jane McGonigal delivered a rant at the Game Developer’s Conference entitled “Reality is Broken” that galvanizedÂ developers into tackling real-life problems. McGonigal has since refined her thesis through presentations delivered at venues ranging from South by Southwest to TED. She has also put her theories to practical use with alternate reality games and interactive experiences including The Lost Ring, Top Secret Dance Off, Cryptozoo, and Evoke. Jane has taught audiences how to do the Soulja Boy dance, snuck on stage for a Flynn Lives event, and used game mechanics to help recover from a concussion.

McGonigal’s new book, Reality is Broken: Why Games Make us Better and How they Can Change the World, hits bookstores on January 20th, and expands upon the central point of her presentations: reality is broken, because games do a better job of making us happy. Rather than attacking games as an escapist outlet for avoiding real-world troubles, why don’t we subvert those game mechanics to make the world a better place? The book draws upon a healthy mix of psychological research isolating specific tactics for induce happiness (“happiness hacks”) alongside practical examples of those tactics utilized in both traditional and “serious” game design. The net result? A list of fourteen “fixes” that can help readers improve their lives through play. The book did a superb job of outlining concrete examples of why we like games in the first place, and how we can transform that interest into something that will make our lives and the lives of others better. While reading through the book, I often found myself cheering along with the “epic wins” documented in the book, ready to proudly declare, “We can do this! We can make the world better, if only a little bit!” Reading this book about happiness feels good: don’t be surprised if you catch yourself grinning from ear to ear a few times each chapter.

The book is structured in three sections: the first delves into what makes us happy, the second embraces the notion of entering alternate realities, and the third addresses the challenges and potential embodied in massive collaborative projects. Each section could easily be a book in its own right, with the first section providing a game developer’s how-to guide that should be on every development team’s required reading list, explaining key concepts like flow and failure in easilyÂ digestibleÂ language. Another section addresses how massively collaborative projects like Wikipedia and Folding@Home use gaming elements to achieve “epic wins.”

A Look Back at the Year in Alternate Reality Games: 2010 Edition

December 30, 2010 / Michael Andersen

At the end of every year, I like to set aside some time to take stock of the alternate reality gaming space. Last year, I satisfied this rather unwholesome urge by making a list of some of the most talked-about alternate reality games of 2009: I even checked it twice. This year, I’ll be focusing on some emerging trends facing the industry, along with a few highlights from successful campaigns that you might have missed.

The State of the Industry

Alternate reality games aren’t dead, but they have certainly evolved over the past year, as terms like “transmedia storytelling” and “gamification” have insinuated their way further into the developmental lexicon. In April, the Producer’s Guild of America added the “transmedia producer” credit to their Code of Credits, swiftly followed by the formation of the rival Transmedia Artists Guild in July, which aims to provide a support structure for creators. Prominent figures in the entertainment industry including Anthony Zuiker, Tim Kring, and Guillermo del Toro have all publicly committed themselves to transmedia production. Meanwhile, Jane McGonigal’s TED Talk on gamification as a means of leveraging our penchant for play for social good has reignited interest in serious games.

Jay Bushman does an exemplary job of articulating the industry’s formative state in his article about his time as a Cloudmaker, a name affectionately adopted to describe players of the genre-defining alternate reality game for the film A.I.. Bushman notes that the state of the industry can be analogized to the film industry circa 1926, before the release of The Jazz Singer manifested the argument for talkies. As Bushman explains, The Jazz Singer “was not the first film with sound, but it was the first one to make its benefits obvious and to show that sound was the way forward.”

We Lost Our Gold: Pirate Booty Still at Large

September 22, 2010 / Jane Doh

As reported previously on ARGNet, a befuddled pirate-and-ninja crew lost a treasure chest filled with 10,000 gold-colored US dollar coins somewhere in the five boroughs of New York City. This past Sunday, incidentally International Talk Like A Pirate Day, the final episode of the eight-part We Lost Our Gold web series aired, bringing the plot to a close. However, the pirate booty is still at large.

In July, several trailers, media appearances, and hilarious press releases built up interest for the series until it began in earnest on August 1st. Over the course of the episodes, the crew retraced their steps through New York City to try and remember where they misplaced the treasure chest. Starting off easily enough with Episode 1, the clues clearly led treasure-seekers away from Central Park.

However, as We Lost Our Gold progressed, the clues became more numerous and more difficult and also rife with red herringsâ€”usually tributes to filmmakers. The episodes parodied different genres and popular shows, such as The Larry King Show, where it was revealed that the pirates had stolen the money from Glove & Boots, a web series-making puppet duo consisting of Fafa the Groundhog and his friend Mario.