LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Evans, Elizabeth; Flintham, Martin; Martindale, Sarah (2014)
Publisher: Springer
Languages: English
Types: Article
Subjects:

Classified by OpenAIRE into

ACM Ref: ComputingMilieux_PERSONALCOMPUTING
The Malthusian Paradox is a transmedia alternate reality game (ARG) created by artists Dominic Shaw and Adam Sporne played by 300 participants over three months. We explore the design of the game, which cast players as agents of a radical organisation attempting to uncover the truth behind a kidnapping and a sinister biotech corporation, and highlight how it redefined performative frames by blurring conventional performer and spectator roles in sometimes discomforting ways. Players participated in the game via a broad spectrum of interaction channels, including performative group spectacles and 1-to-1 engagements with game characters in public settings, making use of low- and high-tech physical and online artefacts including bespoke and third party websites. Players and game characters communicated via telephony and social media in both a designed and an ad-hoc manner. We reflect on the production and orchestration of the game, including the dynamic nature of the strong episodic narrative driven by professionally produced short films that attempted to respond to the actions of players; and the difficulty of designing for engagement across hybrid and temporally expansive performance space. We suggest that an ARG whose boundaries are necessarily unclear affords rich and emergent, but potentially unsanctioned and uncontrolled, opportunities for interactive performance, which raises significant challenges for design.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • 1. Benford, S., Crabtree, A., Reeves, S., Sheridan, J., Dix, A., Flintham, M. and Drozd, A. (2006) The Frame of the Game: Blurring the Boundary between Fiction and Reality in Mobile Experiences. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI '06). ACM, New York, NY, USA, 427-436.
    • 2. Bishop, Claire (2006) Introduction. In Participation, Claire Bishop (Ed.). London: Whitechapel and Cambridge, Mass: MIT Press. 10-17.
    • Cawelti, J. G. and Rosenberg, B. A. (1987) The Spy Story. Chicago: University of Chicago Press. Evans, E. (2011) Transmedia Television: Audiences, New Media and Daily Life. New York: Routledge. Fischer-Lichte, E. (2013) Politics of Spatial Appropriation, Michael Breslin and Saskya Iris Jain (Trans.). In Performance and the Politics of Space E. Fischer-Lichte and B. Wihstutz (Eds.). New York: Routledge. 219-238.
    • Gennette, G. (1997) Paratexts: Thresholds of Interpretation. Cambridge: Cambridge University Press. Goffman, E. (1974) Frame Analysis: An Essay on the Organization of Experience. Cambridge, Mass: Harvard University Press. Gray, J. (2010) Show Sold Separately: Promos, Spoilers and Other Media Paratexts. New York: NYU Press.
    • 10. Hansen, D. L., Bonsignore, E. M., Ruppel, M., Visconti, A. and Kraus, K. (2013) Designing Reusable Alternate Reality Games. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI '13). ACM, New York, NY, USA, 1529-1538.
    • 11. Jenkins, H. (2006) Convergence Culture: When New and Old Media Collide. New York: NYU Press.
    • 12. Juul, J. (2008) Half-Real: Video Games Between Real Rules and Fictional Worlds. Cambridge, Mass: MIT Press.
    • 13. Lévy, P. (1997) Collective Intelligence: Mankind's Emerging World in Cyberspace. Cambridge, Mass: Perseus Books.
    • 14. Livingstone, S. (1998(1990)) Making Sense of Television: The Psychology of Audience Interpretation. London and New York: Routledge.
    • 15. Martin, A., Thompson B. and Chatfield T. (2006) Alternate Reality Games White Paper. International Game Developers Association Alternate Reality Games SIG. http://archives.igda.org/arg/resources/IGDA-AlternateRealityGames-Whitepaper2006.pdf retrieved May 2013.
    • 16. McGonical, J. (2003) A Real Little Game: The Performance of Belief in Pervasive Play. 030303: Collective Play, Research Colloquium, University of California at Berkeley, March 3. http://www.avantgame.com/MCGONIGAL%20A%20Real%20Little%20Game%20DiGRA%202003.pdf retrieved May 2013.
    • 17. McGonigal J. (2011) Reality is Broken. New York: Penguin Press.
    • 18. McGonigal, J. (2008) Why I Love Bees: A Case Study in Collective Intelligence Gaming. The Ecology of Games: Connecting Youth, Games, and Learning, Katie Salen (Ed.). Cambridge, Mass: MIT Press. 199-227.
    • 19. Moore, C. (2011) The Magic Circle and the Mobility of Play. In Convergence: The International Journal of Research into New media Technologies 17:4, November, 373-387.
    • 20. Montola, M. (2005) Exploring the Edge of the Magic Circle: Defining Pervasive Games. In Proceedings of Digital Arts and Culture, Copenhagen, December 2005.
    • 21. O'Hara, K., Grian, H. and Williams, J. (2008) Participation, Collaboration and Spectatorship in an Alternate Reality Game. In Proceedings of the 20th Australasian Conference on Computer-Human Interaction: Designing for Habitus and Habitat (OZCHI '08). ACM, New York, NY, USA, 130-139.
    • 22. Porter, M. J., Larson, D. L., Harthcock, A. and Berg Nellis, K. (2002) (Re)defining Narrative Events: Examining Television Narrative Structure. In Journal of Popular Film and Television 30:1, 23-30.
    • 23. Project A.P.E. http://geocaching.wikia.com/wiki/Project_A.P.E. retrieved May 2013.
    • 24. Richardson, I. (2011) The Hybrid Ontology of Mobile Gaming. In Convergence: The International Journal of Research into New Media Technologies 17:4, November, 419-430.
  • No related research data.
  • No similar publications.

Share - Bookmark

Cite this article