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ALTERNATE REALITY GAMING A concept for Woedend! : Blending different media by  Creating a real life gaming experience
The Magic Circle <ul><li>TRADITIONAL GAMES HAD BOUNDARIES: </li></ul><ul><li>Defined rules </li></ul><ul><li>Defined playi...
Alternate reality games break these boundaries on different levels: <ul><li>SPATIAL EXPANSION:  </li></ul><ul><li>The loca...
??????????????????????? <ul><li>For example: </li></ul><ul><li>A movie subtitle or videomessage contains a </li></ul><ul><...
This is done by hiding the true nature of the activity to participants <ul><li>This Is Not a Game </li></ul><ul><li>Also r...
So how do people know they are actually dealing with a game? <ul><li>Well…….Some really don’t have a clue.  </li></ul><ul>...
The ‘storywriter’ should plan the way in which people become aware and offer them a choice: <ul><li>Become a player:  acti...
Still, the creators also have to create revenue. <ul><li>Revenue can be derrived in various ways </li></ul><ul><li>BUT: WO...
Revenue can be made on two sides: <ul><li>From sales related to the media product: tickets, merchandise, games, books, man...
The key questions then become: <ul><li>1.  How do you captivate an audience </li></ul><ul><li>larger the usual Hard-core g...
THE ASNWER: MULTIPLE TIERS <ul><li>Tiers are different forms of content presented to  </li></ul><ul><li>different audience...
Tiers come in different types  <ul><li>Each separate tier is a different POE: </li></ul><ul><li>POINT OF ENTRY (in ARG lan...
But to appeal to a broad audience you have to: <ul><li>Create various tiers for a wide variety of content </li></ul><ul><l...
A good alternate reality game should <ul><li>- Have codes (from morse to hyroglifs) to decifer. </li></ul><ul><li>- Have p...
BUT MOST OF ALL: <ul><li>A GOOD STORYLINE </li></ul>
This will have an avalanche effect <ul><li>Apart from producer generated tiers,  </li></ul><ul><li>There will be content p...
Forums and blogs that report on the progress that is made in solving the mystery. <ul><li>And these (especially the last o...
Does this concept work? <ul><li>ARG game ‘I Love Bees’ had over 3 million active  </li></ul><ul><li>Participants.  </li></...
To capitulate on all this audience attention: <ul><li>Makers of an alternate reality game should </li></ul><ul><li>make st...
Conclusion <ul><li>It’s not necessarily a new electronic </li></ul><ul><li>device that will be the next trend.  </li></ul>...
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Alternate Reality Gaming Pecha Kucha Lennart Pieters

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A Pecha Kucha style presentation in response to the assignment posed by Bas van Berkestijn from the advertisemint company Woedend! Goal was to create a concept that blends different types of media. Assigment for Trends and Strategies in
the Creative Industries EUR

Published in: Entertainment & Humor
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Transcript of "Alternate Reality Gaming Pecha Kucha Lennart Pieters"

  1. 1. ALTERNATE REALITY GAMING A concept for Woedend! : Blending different media by Creating a real life gaming experience
  2. 2. The Magic Circle <ul><li>TRADITIONAL GAMES HAD BOUNDARIES: </li></ul><ul><li>Defined rules </li></ul><ul><li>Defined playing space </li></ul><ul><li>A given set of opponents </li></ul><ul><li>A win/lose scenario to end the game </li></ul>
  3. 3. Alternate reality games break these boundaries on different levels: <ul><li>SPATIAL EXPANSION: </li></ul><ul><li>The location of the game is unclear or unlimited </li></ul><ul><li>TEMPORAL EXPANSION: </li></ul><ul><li>Either undefined start/end or players are unaware of the time frame </li></ul><ul><li>SOCIAL EXPANSION: </li></ul><ul><li>Blurring boundaries of playership and creater </li></ul>
  4. 4. ??????????????????????? <ul><li>For example: </li></ul><ul><li>A movie subtitle or videomessage contains a </li></ul><ul><li>code, and the game begins as soon as anyone </li></ul><ul><li>cracks the code >>>>> This leads to a website </li></ul><ul><li>that introduces a mistery. </li></ul><ul><li>People have to do real life assigments, learn, </li></ul><ul><li>coöperate and share information to solve the </li></ul><ul><li>Mistery. </li></ul>
  5. 5. This is done by hiding the true nature of the activity to participants <ul><li>This Is Not a Game </li></ul><ul><li>Also reffered to as: TING-ing a concept </li></ul><ul><li>Goal: To allow players to fully emerse in the storyline. </li></ul>
  6. 6. So how do people know they are actually dealing with a game? <ul><li>Well…….Some really don’t have a clue. </li></ul><ul><li>It all depends on the level of ‘contextual awareness’ </li></ul><ul><li>There are 3 levels: </li></ul><ul><li>UNAWARE: All is unnoticed, “same as always” </li></ul><ul><li>AMBIGUOUS STATE: Sees relations, but no gaming. </li></ul><ul><li>3. CONCIOUS STATE: Game context is accessible. </li></ul>
  7. 7. The ‘storywriter’ should plan the way in which people become aware and offer them a choice: <ul><li>Become a player: active participation in the </li></ul><ul><li>gameplay </li></ul><ul><li>2. Participate: active, but not in a direct way. </li></ul><ul><li>3. Spectatorship: Just following the latest </li></ul><ul><li>devellopment and storyline. </li></ul><ul><li>4. Refusal: Option to just ignore the game. </li></ul>
  8. 8. Still, the creators also have to create revenue. <ul><li>Revenue can be derrived in various ways </li></ul><ul><li>BUT: WOEDEND IS ALSO AN </li></ul><ul><li>ADVERTISING AGENCY </li></ul><ul><li>And therefore even more so </li></ul><ul><li>DUAL MARKET ASPECTS OF BRANDING </li></ul><ul><li>apply (Ots) </li></ul>
  9. 9. Revenue can be made on two sides: <ul><li>From sales related to the media product: tickets, merchandise, games, books, manuals etc. </li></ul><ul><li>From B2B advertising income: </li></ul><ul><li>Like brand placement, sponsorship, adds (selling attention or ‘eye-balls’) </li></ul>
  10. 10. The key questions then become: <ul><li>1. How do you captivate an audience </li></ul><ul><li>larger the usual Hard-core gamers? </li></ul><ul><li>What products do you want to push and how do you integrate them? </li></ul>
  11. 11. THE ASNWER: MULTIPLE TIERS <ul><li>Tiers are different forms of content presented to </li></ul><ul><li>different audiences and they facilitate a </li></ul><ul><li>different experience of a work or a world </li></ul><ul><li>(Dena, 2008) </li></ul><ul><li>World: Work within the same fictional universe. </li></ul><ul><li>Work: Seperate content within a single work. </li></ul>
  12. 12. Tiers come in different types <ul><li>Each separate tier is a different POE: </li></ul><ul><li>POINT OF ENTRY (in ARG language) </li></ul><ul><li>Or in plain English: Tiers are the different ways in which content can be experienced. </li></ul><ul><li>Example: A soccer match can be experienced: </li></ul><ul><li>Live, on the radio, TV, teletext, SMS update etc. </li></ul><ul><li>These are all tiers of the same content </li></ul>
  13. 13. But to appeal to a broad audience you have to: <ul><li>Create various tiers for a wide variety of content </li></ul><ul><li>That appeals to different sorts of people. </li></ul><ul><li>Take in account differences in: </li></ul><ul><li>- Interests (of technology, literature, history) </li></ul><ul><li>- Skills (analytical thinking, social skills, dare) </li></ul><ul><li>- Commitment (some people also have a job :-) </li></ul>
  14. 14. A good alternate reality game should <ul><li>- Have codes (from morse to hyroglifs) to decifer. </li></ul><ul><li>- Have puzzels and riddles that require research </li></ul><ul><li>or the aquirement of new skills. </li></ul><ul><li>- Have field missions in the public sphere. </li></ul><ul><li>- Steer you across different media forms. </li></ul><ul><li>- Involve teamwork and a feeling of ‘collectiveness’. </li></ul><ul><li>- Interaction with (staged) characters </li></ul>
  15. 15. BUT MOST OF ALL: <ul><li>A GOOD STORYLINE </li></ul>
  16. 16. This will have an avalanche effect <ul><li>Apart from producer generated tiers, </li></ul><ul><li>There will be content produced by players. </li></ul><ul><li>- New media tools to use during the assignments </li></ul><ul><li>- Instructions on how to solve puzzles </li></ul><ul><li>New websites with links to other relevant websites </li></ul><ul><li>Forums to organize coöperation </li></ul><ul><li>- Forums and blogs that report on the progress that is made in solving the mystery. </li></ul>
  17. 17. Forums and blogs that report on the progress that is made in solving the mystery. <ul><li>And these (especially the last one) are of major </li></ul><ul><li>Importance: The majority of the audience is </li></ul><ul><li>PASSIVE and this audience is just interested in </li></ul><ul><li>the personal stories of players and the unfolding </li></ul><ul><li>of the storyline. </li></ul><ul><li>(+ it allows the “puppetmaster” to plan events) </li></ul>
  18. 18. Does this concept work? <ul><li>ARG game ‘I Love Bees’ had over 3 million active </li></ul><ul><li>Participants. </li></ul><ul><li>ARG game ‘The Beast’ Also had 3 million active </li></ul><ul><li>Participants. </li></ul><ul><li>Of which 50% were male and 50% were female. </li></ul>
  19. 19. To capitulate on all this audience attention: <ul><li>Makers of an alternate reality game should </li></ul><ul><li>make strategic alliences with brands or </li></ul><ul><li>products. </li></ul><ul><li>A story may leads to the introduction of a </li></ul><ul><li>console based game. </li></ul><ul><li>A storyplot may unfold in a movie or TV serie. </li></ul><ul><li>A story may only be solved using certain electronic devices. </li></ul><ul><li>Audiences might have to participate in events. </li></ul>
  20. 20. Conclusion <ul><li>It’s not necessarily a new electronic </li></ul><ul><li>device that will be the next trend. </li></ul><ul><li>Good content and a flexibel mindset. </li></ul><ul><li>Harnassing the creative capacity of the </li></ul><ul><li>masses may be the future of advertisers. </li></ul><ul><li>Thanks to the Woeste Mannen, Prof. Leenderste </li></ul><ul><li>And Bas van Berkestijn from Woedend! </li></ul>
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