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Process Drama as Alternate Reality Game - presentation for IDEA2007 Hong Kong - supported by ANAT.


  1. 1. Dramat ARG y Process Drama as Alternate Reality Game Supported by ANAT (Australian Network for Art and Technology) through the Professional Development Travel Fund. ANAT is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. Kim Flintoff Edith Cowan University and Queensland University of Technology
  2. 2. The Game The Art of the Heist
  3. 3. Home Imagine: Your phone rings and voice tells you that your house has been burned to the ground and that hateful graffiti is scrawled over the fence outside – they also tell you that things will get worse if you tell anyone what you know. You are told beware the agents of chaos.
  4. 4. What are ARG? <ul><li>Wikipedia Definition: &quot; An alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions. The form is typified by intense player involvement with a story that takes place in real-time and evolves according to participants' responses, and characters that are actively controlled by the game's designers, as opposed to being controlled by artificial intelligence as in a computer or console video game.” </li></ul>
  5. 5. What are ARG? <ul><li>IGDA White Paper on ARG </li></ul><ul><li>&quot;Alternate Reality Games take the substance of everyday life and weave it into narratives that layer additional meaning, depth, and interaction upon the real world. The contents of these narratives constantly intersect with actuality, but play fast and loose with fact, sometimes departing entirely from the actual or grossly warping it - yet remain inescapably interwoven. Twenty-four hours a day, seven days a week, everyone in the country can access these narratives through every available medium - at home, in the office, on the phones; in words, in images, in sound.” </li></ul>
  6. 6. What are ARG? <ul><li>Alternate Reality Games SIG </li></ul><ul><li>Alternate Reality Games come at things from an orthogonal perspective: they subsume the real world as the &quot;platform&quot; for delivering the content - the game, the challenges, the narrative, the story within which the player explores and has fun. There is no barrier between simulation and reality: you have absolute fidelity &quot;for free&quot;. </li></ul>
  7. 7. Some Jargon <ul><li>“ Unfiction” </li></ul><ul><li>“ Immersive Gaming” </li></ul><ul><li>“ Beasting” </li></ul><ul><li>“ PuppetMasters” </li></ul>
  8. 8. Some examples <ul><li>TROY </li></ul><ul><li> </li></ul><ul><li>LOST </li></ul><ul><li> </li></ul><ul><li>I LOVE BEES </li></ul><ul><li> </li></ul>
  9. 9. 10 Commandments of ARG
  10. 10. DramatARGy <ul><li>The suggestion is that we consider adopting some of the structures and assumptions of ARG and combine them with some of the conventional wisdom of Process Drama </li></ul>
  11. 11. DramatARGy <ul><li>The level of immersion – potentially 24 hours a day – in every domain of the learner’s life. </li></ul><ul><li>Metaxis as an extended lived experience. </li></ul>
  12. 12. DramatARGy Elements <ul><li>playful disposition – “generative play” </li></ul><ul><li>narrative starts </li></ul><ul><li>tiering </li></ul><ul><li>innovative use of drama conventions </li></ul><ul><li>participants create core content </li></ul><ul><li>“ suspension of disbelief” – accept the alternate reality – sometimes blur it. </li></ul><ul><li>unlike ARG – find creative/metaphorical/abstract mediums </li></ul><ul><li>joint construction of reality </li></ul>Some of these elements are drawn from and adapt the work of Christy Dena –
  13. 13. DramatARGy Elements <ul><li>greater diegetic engagement </li></ul><ul><li>multi/trans/mixed media engagement (therefore the potential to be cross-curricular) </li></ul><ul><li>extended temporality </li></ul><ul><li>reactive/responsive development of game narrative </li></ul><ul><li>discovery and controlled release of narrative information </li></ul><ul><li>game play devices are player developed </li></ul><ul><li>active engagement is the only way </li></ul>Some of these elements are drawn from and adapt the work of Christy Dena –
  14. 14. DramatARGy Elements <ul><li>engagement/purpose/participation can all be fragmented and partial </li></ul><ul><li>comfort with ambiguity/risk/uncertainty </li></ul><ul><li>always “on” </li></ul><ul><li>educational focus </li></ul><ul><li>entertainment is important </li></ul>Some of these elements are drawn from and adapt the work of Christy Dena –
  15. 15. Challenges <ul><li>Puzzles </li></ul><ul><ul><ul><li>Mppl cfijoe zpv </li></ul></ul></ul><ul><ul><ul><li> </li></ul></ul></ul><ul><li>Games within the game </li></ul><ul><li>Discovery </li></ul><ul><ul><ul><li>In role </li></ul></ul></ul><ul><ul><ul><li>In reflection </li></ul></ul></ul><ul><ul><ul><li>Out of role </li></ul></ul></ul>
  16. 16. How? <ul><li>There are no rules to creating these forms </li></ul><ul><li>Expect the games to evolve and adapt to circumstances </li></ul><ul><li>What do you want to explore? </li></ul><ul><li>What content needs to be included? </li></ul><ul><li>What forms do you have access to? </li></ul><ul><li>What will need to be learned along the way?(for you and players) </li></ul><ul><li>How will you manage it? </li></ul><ul><li>How/where will the story begin? </li></ul><ul><li>When will it end? </li></ul>
  17. 17. START <ul><li>Form a small group and introduce yourselves. </li></ul><ul><li>Share your fears! </li></ul>
  18. 18. STEP 1 <ul><li>Decide upon a “theme” – what ideas/content do you want students to engage with? </li></ul>
  19. 19. STEP 2 <ul><li>What is a “reality” that would support that content? </li></ul>
  20. 20. STEP 3 <ul><li>What are some possible beginnings to the game narrative? </li></ul>
  21. 21. STEP 4 <ul><li>How will you deliver the triggers? </li></ul>
  22. 22. STEP 5 <ul><li>What roles will be needed in the narrative? </li></ul>
  23. 23. STEP 6 <ul><li>What resources will you construct? </li></ul>
  24. 24. STEP 7 <ul><li>What resources will participants construct? </li></ul>
  25. 25. STEP 8 <ul><li>What will be the first thing players encounter? </li></ul><ul><li>(website, newspaper article, SMS, phone call, casual meeting, magazine article, billboard, public notice, letter, email, blog entry, podcast, etc) </li></ul>
  26. 26. STEP 9 <ul><li>How will you manage/track progress? </li></ul>
  27. 27. STEP 10 <ul><li>What will you release? </li></ul><ul><li>To whom? </li></ul><ul><li>When? </li></ul>
  28. 28. Some useful sites <ul><li>Alternate Reality Games Network </li></ul><ul><li> </li></ul><ul><li>UnFiction </li></ul><ul><li> </li></ul><ul><li>IGDA ARG SIG </li></ul><ul><li> </li></ul><ul><li>ARGRESEARCH list </li></ul><ul><li> </li></ul><ul><li>UnFiction </li></ul><ul><li>http://www. unfiction .com/ </li></ul><ul><li>DeadDrop </li></ul><ul><li> </li></ul>
  29. 29. Some useful sites <ul><li>Through the Rabbit Hole </li></ul><ul><li> </li></ul><ul><li>ARG Quick Start </li></ul><ul><li> </li></ul><ul><li>This is Not a Game </li></ul><ul><li> </li></ul><ul><li>Jane McGonigal </li></ul><ul><li> </li></ul><ul><li>Christy Dena </li></ul><ul><li> </li></ul><ul><li>Developing an ARG </li></ul><ul><li> </li></ul>