[near] futures of digital entertainment in mobile situations

[near] futures of digital entertainment in mobile situations nicolas nova EPFL - LIFTlabs - Phoenix Interactive Lyon - 18 juillet 2007 Picture taken in Tokushima, Japan (december 2005), kids gathered playing a mobile phone game altogether in a temple

current situation (1) Mobile gaming = immobile gaming

current situation (1)

output input current situation (2) The Zoolander phone... shows the limits of the interface

researchers do research (academia, start-ups, industries)

(Picture: Blast Theory) location-based games lots of prototypes, few products (Mogi in Japan)... often one-shot/events mostly based on tracking people or multi-user treasure hunt

accelerometers and gestural interfaces In this case, the point is to use the mobile only as the input, the output is a tv-screen. Tilt racer (University of Lancaster) http://www.mobileradicals.com/index.php/Mobile_3-D_Motion_Games http://www.youtube.com/watch?v=yqYVJ0zpDx8 Very like the Nintendo-wiimote

augmented reality and mobile tagging Lots of projects here... see Nokia MARA (left) and lots of visual markers (right)... aim at linking speciﬁc information to physical places. Both for social/web2.0 applications and playful games.

but... today... yes there’s a “but”, things are not running smoothly... these applications are mostly prototypes, not yet to be seen on a mass market deployment let’s see 2 reasons

1) market fragmentation 1) lots of dierent hardware 2) very few people have high end phones (smartphones), less than 5% of the people who have a cell phone 3) lots of dierent software Market is fragmented AND very small

2) infrastructures can break = difﬁcult to have a continuous experience More about this: Dourish, P. & Bell, G. (2007). The Infrastructure of Experience and the Experience of Infrastructure: Meaning and Structure in Everyday Encounters with Space. Environment and Planning B,

so what? few hints

phone = microphone: “Away from the new” Once again in mobile gaming, one forget the importance of a cell phone characteristic: it convey audio communication. Designing audio interaction can take various form: for example you can detect when a person is blowing. An example of such is the game “Away from the new” (http:// art.berkeley.edu/niemeyer/art.html). Unfortunately the picture is only a friend faking it

phone = communication tool: ARG Phone can be used for Alternate Reality Game, to support live action role palying games (Read: http://igda.org/arg/whitepaper.html) The example here is Live Action Scotland Yard: “One guy named Mr. X runs around Toronto’s transit system in a bright yellow shirt, while three or more guys in red shirts try to find him using the clues he gives at every third stop he makes. The three detectives are coordinated by dispatchers who tell the detectives where they think Mr. X might be and how best to block him off. Mr. X’s dispatcher is relaying information about the detectives whereabouts and tries to keep him away from them. The game ends when a turn limit has been reached or X is caught. Scotland Yard is played by 6 or more people, half of the players are in the field, and the other half are dispatchers. Teams are paired up, one dispatcher with a field agent. Each pair is in contact with each other using a cell phone. One agent in the field is chosen to be “Mr. X” while the rest are detectives.”

continuity of experience: mobile/console (Power Pro) Power Pro (konami): train your base-ball player as your team on your mobile phone, use them on the PS2 (form mobile version to PS2 using codes)

complementarity of experience): “Idols” Idola (a ﬁnnish TV show) is an interesting example described by Tomi H. Ahonen in his book “Communities Dominates Brands”: it engages tv-viewers in a TV-related service to mobile: a quot;mobile karaokequot;. viewers call a number, sing their song to the karaoke service, listen to it, to make sure its the best they could do. then it's saved and the contest begin. People vote. 1,862 persons sang songs into this contest. 150,000 Finns went in and voted on the songs. they generated a total of 1.95 million votes. And it achieved more voting trafic than the actual TV show did

complementarity of experience (2): “Waterwar” A multiplayer SMS-TV game: SMS to TV: “Send a premium text message to interact with other players. The gameplay is displayed on your home TV, transmitted over local television”. By Frantic Media (Finland), broadcasted on MTV3 & SubTV (Finland)

use basic sensers (pedometers versus GPS) Lots of innovation with basic sensors: Teku Teku Angle or V-Migo: raise a virtual character nurtured with physical movement tracked by a pedometers (also think of distance computed out of cell phone antenas)

conclusions • innovation is not necessarily technology- oriented (near future perspective) • thinks about phone fundamentals (voice) • continuity of experience • complementarity of experience • basic technologies allow intriguing things

2000 2007 2015 CYSMN Uncle Roy Location-Based Botﬁghters Mogi Gaming Location- based games Nokia AR games ARgaming Nokia MARA (Agent V,...) Augmented reality gaming Tilt Accelerometers Gestural interfaces Multiplayer/Social Mini Friday Basic UI Audio/Blowing games MMO Mobile Tagging ARG Consumer Market TV-phone tie- SMS/TV Idols Water war in Broadcast TV Mobile Entertainment Cone of Uncertainty A foresight tool (cone of uncertainty) that aims at mapping the possibilities. The horizontal line shows the consumer market. When circles/things are close to the edges, it means that it’s not certain to be around before few years? The problem is to ﬁnd what can turned them into more market-orientated products. For example, a way to bring location-based games closer to the market would be to forget the use of GPS but to let people self-disclose their locations.

merci nicolas.nova@epfl.ch

[near] futures of digital entertainment in mobile situations

by nicolas nova on Jul 20, 2007

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