1 The Beast: Best Idea of the Year, The New York Times Magazine, 2001; Best Website of the Year, Entertainment

Reproduction of this document in whole or part may be done without written approval but must reference this document as a source and display the following URL as the location to obtain the full report:

This information is intended strictly for informational purposes. If you include it in a business plan or any business process, you are responsible for its use and any successes or failures resulting from this report. If you feel we’ve missed something, we apologize!

This work was created and written by volunteers on behalf of the community at large. The white paper content is based on the individual input of the contributors, and does not necessarily reflect the opinions or policies of the companies at which the individuals work. There may be inaccuracies and information that has become outdated since this white paper was originally written. The information was obtained from publicly available sources.

Although new to many people, Alternate Reality Games (ARGs) are still far short of achieving their full potential, each new wave of games bringing major new innovations and increased understanding of what works and what doesn't. We hope you find both inspiration and real practical help in this paper, and look forwards to playing the next wave of ARGs you come up with.

awards from the gaming, media and broadcasting industries 1 , , , , . As well as these critical success, there are already several businesses with long-term sustainable revenue streams.

The ARG industry is consistently producing multi-million-dollar games for tens of thousands of players at a time, and generating interest across the entertainment, broadcast, and advertising industries. In the last few years, successful games have received widespread recognition, winning

Welcome to the 2006 Alternate Reality Games SIG Whitepaper. This is the first paper from the ARG SIG, and provides a full introduction to the genre as well as a wealth of practical and analytical information on design methodologies, business models, and current and recent games.

The Audience Relationship............................................................................................................47 Business Models.................................................................................................................................49 Current and Recent Models........................................................................................................... 49 First Wave: Marketing Campaigns................................................................................................49 Second Wave: Non-profit Games..................................................................................................50 Third Wave: Productized mini-ARGs........................................................................................... 50 Fourth Wave: Indirect Revenue.....................................................................................................51 Other Models................................................................................................................................. 52 Fundamental Issues........................................................................................................................53 Current Trends............................................................................................................................... 56 ARGs and Academia.......................................................................................................................... 58 Background or How Academics & ARGs Fell For Each Other.................................................... 58 Current research.............................................................................................................................59 ARGs & Philosophy: How ARGs Battleaxe Boundaries.............................................................. 65 ARGS & Education: Why No School Should Be Without One....................................................68 ARGs & Entertainment: “The Citizen Kane of Online Entertainment”........................................70 Future Directions........................................................................................................................... 77 Appendix 1: Academic Citations...................................................................................................78

For these reasons, for the purposes of this paper we consider ARGs and MMOGs to be distinct genres -in practice, there is only superficial similarity between the current MMOG market and the ARG market.

ARGs do not require there be an avatar to build up, grow bored of and cast aside, or that there be a sandbox world for this creature to inhabit. There is, rather, the insertion of additional slices of reality into our own, and the only demand is that you interact with these as yourself. Moreover, the satisfactions of ARGs are as much aesthetic as they are egotistical, in that the pleasures they offer are as much those of contemplating characters, situations and narratives as of acting within these narratives. This has been true of aspects of many games before, but never to such a degree, or with such potential for mass involvement. The truly immersive narrative games of the past were largely limited experiences designed for single players (the old LucasArts point-and-clicks), or cases of a ‘mythos’ grafted onto essentially stationary game worlds (Ultima Online). ARGs are something quite different, fusing religion’s TINAG principle with both the active pleasures of gaming and the more passive pleasures of art; a combination which potentially calibrates them for pleasure, participation, and thus for profits, at a level even WoW might envy.

Most of the shortcomings of MMORPGs are well-documented. Leaving aside the huge demands their upkeep can put on servers and customer service, perhaps the greatest gripe among players tends to be the difficulty of releasing new material and patches at anything like the rate the community would like (Smugglers in Star Wars Galaxies are a classic example – the implementation of an in-game smuggling system has now been promised by developers for over two years, with the overwhelming backing of the player community, but has yet to be achieved). Inevitably, also, the fine balance necessary for long-term playability becomes exponentially harder to maintain as more content is added; and new content has the disconcerting ability to make yesterday’s amazing equipment, won at the cost of a thousand hours’ play, into today’s vender trash. But there is also a more structural, and related, problem with all conventional MMORPGs, and one that even the mighty WoW isn’t immune to. Eventually, casual gaming ceases to be an option. You’ve hit top level on one or two characters, you’ve played around with all the classes – now you’d better either clear your diary three evenings a week for the next month to try and make an elite guild’s raid calendar, or you can sell (sorry, discontinue) your account and move on to a new product.

But WoW doesn’t claim to be real. You sign in, and there your avatar is, safely locked up inside the server. He, or she, is the ultimate object of your game – your mission is to make this creature as potent as possible. There’s plenty to enjoy along the way, and you won’t get far without cooperating, but it is this essentially solitary triumph that will keep you coming back.

Looking at the games themselves, ARG and MMOG/MMORPG (Massively Multiplayer Role-Playing Games) also tend to diverge wildly in core gameplay. On 5 September 2006, the New York Times announced that World of Warcraft was on track to bring in more than one billion dollars of revenue in the year 2006 from its approximately seven million players, making it ‘one of the most lucrative entertainment properties of any kind’ in the world. It is an income and a participation that most games would kill for, and it has been won through a number of well-established gaming virtues: good marketing and company reputation, well-established player community, good design, good attention to detail, and perhaps above all, exhaustive testing, which in practice has meant literally millions of hours logged within the evolving game world. Oh yes, and you can play with lots of other people.

Technically speaking, ARGs are a form of Massively Multiplayer Online Game (MMOG), with individual games attracting playerbases numbering in the hundreds of thousands, and with a heavy slant towards online media. However, ARGs use “online” merely as a convenient, cheap, mass-communication medium, rather than as a narrow straightjacket to deliver a tightly defined gaming experience. Where the typical MMOG uses a custom client, an application running on the player's home computer, which delivers and controls all content and interaction, ARGs use any -and every -application available on the internet, and potentially every single website, as just small parts of

The genre is not just a new direction in gaming but part of the more general evolution of media and creative narrative, and a reaction to our increasing ability and willingness as consumers to accept and explore many media in parallel, simultaneously.

We take the start of the ARG genre as known today to be the release in 2001 of The Beast, the unofficial title for the game interwoven with Steven Spielberg's film AI, and of Majestic,a commercial game from EA. That summer saw the identification by players of this whole new genre, and the coining of terms for it. It saw the formation of large communities of players 6 7 dedicated to the discussion, dissection, creation, and above all the playing of these new games.

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. Modern society contains many managed narratives relating to everything from celebrity marriages to brands to political parties, which are constantly disseminated through all media for our perusal, but ARGs turn these into interactive games. Generally, the enabling condition to is technology, with the internet and modern cheap communication making such interactivity affordable for the game developers. It’s the kind of thing that societies have been doing for thousands of years, but more so. Much more so.

What if reality were different? What if you suddenly discovered not just different customs but different rules, different rewards, wholly different aspirations – a reality in which everyday occurences were not exactly what you thought, in which certain activities suddenly took on a rich and newly meaningful sense of possibility?

From reading this paper, we hope you'll see that Alternate Reality Games (ARG) are many things to many people, from the latest innovation in interactive storytelling to a new form of ultra-realistic video game. The common ground shared by each of these is that they are some form of game, in that they are not an entirely passive experience (although many people enjoy them passively, there always has to be at least one active player, usually thousands), and that they use the world around you – advertising hoardings, telephone lines, websites, fake companies, actors and actresses you can meet in real life – to deliver the game experience.

This is not a new problem, and partial solutions have been implemented. The ARG community has preserved a variety of game pieces over time. The Internet Archive 14 contains a growing set of game web pages. Individual players no doubt possess a large number of game content items. Perhaps the ARG ethos of collaborative action, and a growing awareness of the genre’s historical depth and importance, can combine to form a larger ARG preservation movement.

Some ARG antecedents are partially preserved – we can find many Choose Your Own Adventure books, but how do we access the experience of playing/reading those? Live-action role-playing games face a similar problem, with game documents preserved (not always), but play hard to find in archival forms. How many people have watched a full LARP in video? Computer games in general face a difficult preservation road, between hardware and software succession and the problem of archiving game play. Imagine trying to present World of Warcraft to an audience fifty years from now. Consider the variety of ARG content: should we attempt to save every scrap of interaction, each forum post, IRQ chat transcript? What about the interactions between players? This may be a good time to start thinking about an ARG archiving selection protocol.

The field of ARG antecedents offers a mixed record in terms of preservation. The books and movies we’ve discussed are fairly widely available, and ultimately appear in copies at key sites (Library of Congress). Performance art is less well recorded, especially when we consider how difficult it is to record performers and audience simultaneously. Dance ultimately developed notation systems to record dance designs, when readers had no access to their performance (Benesh Movement, Kinetography Laban),

There are antecedents to this problem, which the ARG community may draw upon. Libraries and archives have fought to preserve the written record for millennia, and remain at the forefront of concerns about preserving digital documents. Film historians increasingly work to maintain and expand our access to older movies, transferring content into other storage devices, reprinting obscure titles, editing improved versions of important works. Director Martin Scorcese has been a leader in this field for decades. Preserving live performance has been partly the responsibility of recording technologies, as film and video recorded music, dance, and theater productions.

A collective problem remains. The preservation of ARG content and play remains an open, unsolved, and tragic problem. Game content web sites lose their hosting, player-created resources vanish, forums disappear, phone numbers cease to work, email addresses die quietly. ARGs are at worst as evanescent as early film, or dance performance. We are in desperate need of an archiving system so that we can in some way preserve game contents, and also record the experience of play. The fact that so much of the ARG antecedent world remains accessible signals the importance of working to preserve this rising field, before too much of it disappears, and the games become too mysterious.

ARG antecedents similarly celebrate the individual. John Fowles’ Magus is ultimately about the transformation of a single mind, focused on one point. The Game concerns the redemption of its main character, turning him into more of a human being. The Codex Seriphinianus was the work of one designer. Gibson’s Footage is played as, and ultimately revealed to be, the inspired work of one creator. Although it goes against the grain of the “collective detective” concept, the ARG ancestry teaches us that this field may be more deeply individualistic than we thought. Such individualism, if this hypothesis is right, makes the politics of ARG play richer, or perhaps more contradictory, than the rhetoric of collective action which is usually applied to it.

The creation of two levels of readers is a very political act, especially as ARGs win larger audiences. But the politics may in fact be very personal, despite the practice of collaborative play. Consider: one benefit of playing a game is, as with most fiction, the enjoyment of a character. Many ARG plots, like mysteries, turn on the death or disappearance of a single person, whom we get to know through play. In fact, the number of characters in an ARG is quite limited, resembling again the cast of a mystery novel, in contrast to, say, the teeming social strata of an epic or historical novel. Although we play ARGs collectively, we thrive on and give applause for our individual achievements. We each bring our unique perspectives and skill sets to bear on puzzles. The thrill of discovering a cryptogram, the joy in solving it, the sheer kick of having a game respond to you – these are ultimately deeply individual experiences. The process of playing this sort of collaborative game is also a celebration of the individual player.

We can locate a similar interpretive dynamic in the long tradition of “decoding” cultural texts. This includes putatively discovering numerological significance in documents, like The Bible Code (a best-seller in the United States), as well as applying such discoveries to everyday life, as when Russian priests determine that Napoleon Bonaparte’s name, suitably decoded via the French alphabet, yields “666” in War and Peace. Conspiracy theories in general partake of this interpretive approach. Such “analyses” separate the audience into the illuminated and the un-clued, which claiming some authority for the speaker.

Such texts should bring to mind earlier satires, not always understood as such, including Jonathan’s Swift’s “A Modest Proposal: For Preventing the Children of Poor People in Ireland from Being a Burden to Their Parents...” (1729) and Daniel Defoe’s “Shortest Way With Dissenters” (1703). Each of these texts purports to have serious intent, and appeals to two audiences: those who get the joke, and those who do not. ARGs are predicated upon such bimodal reception of game content. ARG players alone “got” the numbers added to an A.I. poster, or tried to get into the Metacortechs company's directory. Indeed, we can infer that ARG play is predicated on

The Sokal hoax took this theme and reversed it as a statement of public critique and obloquy. Alan Sokal (physics, New York University), appalled by the rise of science studies, placed a paper in a leading journal addressing that field. The paper, “Transgressing the Boundaries: Towards a Transformative Hermeneutics of Quantum Gravity,” was accepted by Social Text in 1996. It fulfills many requirements for a scholarly paper, including detailed citation and a steady flow of specialists’ discourse. But it was deliberately riddled with fantasies, gaffes, errors, and flights from reality. Once it was accepted and published in Social Text, Sokal strode out from behind the curtain in the pages of another journal, Lingua Franca, to explain his game. 13 A related public academic hoax from a previous generation, The Report from Iron Mountain (1967), outlined a pro-war domestic policy, and was published as a serious argument.

Having touched on performative art, gaming, and stories about ARGs, let us briefly return to our earlier discussion of hoaxes. While literary fakes have a long tradition, some instances are remarkably ARG-like. These are not works which seek to disguise authorship, such as the Donation of Constantine (eighth century) or the first edition of The Castle of Otranto (attributed to one “Onuphrio Muralto”, 1765), but attempts to pass off fictional work as nonfiction. The most spectacular bibliophilic example is the Codex Seraphinianus, an illustrated book describing what seems to be an alien world. All of the text is written in an alphabet not used by any human civilization. The illustrations are strange, unnerving, macabre, funny, and surreal. It appears without authorship or secondary material in its earliest printings (1981), like a found document from a lost culture. It became the subject of discussion for some time, like Gibson’s Footage, but was revealed to be the work of Luigi Serafini, an Italian designer. Like Borges’ Tlonish encyclopedia, the Codex appears on bookshelves as if snuck into our world from an alternative reality.

At a less avant-garde level, historical reenactments resemble both ARGs and performance art. Their encampments, fairs, spectacles are not as intrusive to outsiders as performance art can be, since they are formally and clearly demarcated. But the plunging down a rabbit hole of ARG play, the sense of immersion into a world extending very far beyond one’s ability to encompass, is a key part of the reenactor experience. Summoning up a historical moment, be it the seventh century, the American Civil War, or Jane Austen’s time, literally creates an alternate reality within our own.

Performative art can also intertwine an artist’s content with everyday life beyond either street theater or the gallery. For examples, Janet Cardiff has developed her Walks series since 1991. The audience experiences sounds through portable recorders as they walk through locations, the contents of which are largely or entirely native, rather than created as part of the project. As the description of a 2005 instance reads, Cardiff creates augmented realities:

flout [sic] our 7,000 members and our voracious appetite for difficult problems, but when the chips are down

have the means, resources, and experience to put a picture together from a vast wealth of knowledge and

"We can solve the puzzle of who the terrorists are," one member wrote [3]. Another agreed: "We

Beyond games and texts about games, performative art has sometimes used ARG strategies to break Brecht's "fourth wall." The traditions of performance art and guerrilla theater have, in retrospect, resembled ARGs in this way. This historical connection suggests a possible ideology for ARGs, in terms of performance art’s political and psychological activism. One may detect a trace of this in Jane McGonical’s account of ARG players wanting to participate in the war on terror 11 . Ray Johnson’s Zen-like practice of sending his art to galleries and correspondents is relevant here. As depicted in the biographical documentary How to Draw a Bunny (2002), Johnson’s mail art struck recipients as puzzles to be solved. The boundaries of each piece, like a good ARG puzzle, had to be determined in the course of exploration – what was a pun, what a bagatelle, what connected to which external referent?

Moving beyond texts about games to games themselves, a series of games before and after The Beast launched used major ARG elements. Most evident here is the insertion of game content into everyday life and structuring a quest-like search using non-game content. For example, Assassin consists of players trying to “kill” other players, but while living lives in a non-game-playing society. College students stalk each other through residence halls and cafeterias, brandishing toy weapons at targets selected by a game system. The game exists all around nonplayers, operating silently or erupting suddenly into a classroom or quad. While Assassin, which dates reliably back to the 1980s, does have game boundaries in space and time, they are not apparent to nonplayers; moreover, the point is to intertwine life and game. Live Action Role Playing games, or LARPs, operate in a similar fashion by embedding players and game content into a larger social world, such as a convention or campus. LARPs greatly expand game content over Assassin, adding character background, rules for physical interaction, and so on. The How to Host a Murder game offers a smaller but still useful example of this embedding strategy, as players take on roles within an unrelated social setting. Role-playing here blends elements of the fictional character with perceptions of actual players.

Beyond ARG-like games themselves, key elements of ARG design have appeared in fiction for some time. For example, Jorge Luis Borges’ Tlon, Uqbar, Orbis Tertius (1940) concerns the insertion of fictive content into nonfiction. A group of academics, puppet-master equivalents, create an encyclopedia of an imaginary world, then sneak small pieces of it into conventional encyclopedias. Then that fictive world, Tlon, starts intruding its descriptions into our world on its own -the content escapes its creators. Beyond proving a delightful example for Wikipedia critics, this story brings to mind the tensions and thrills of seeing reality and fiction discovered alongside each other. Readers of H. P. Lovecraft’s fiction experience something similar when they realize that the Necronomicon is a fictional book cited in Lovecraft’s stories, whereas The Witch-Cult in Modern Europe (1921), which also appears in those tales, is so real that it can be purchased from Amazon.com 10 . Fans, hoaxers, and the ingenious have created print editions of the Necronomicon, winning the right to claim that Alhazred’s book is real, blurring the fact-fiction line still further. Similarly, in the ARG-world, most games have player-built documentary sites describing game content. To an enterprising outsider, a secondary game of discerning reality from fiction may be played.

ARGs teach us to heighten our ability to winnow patterns out of the otherwise seemingly random and meaningless data in the wider world. Gibson’s novel stretches between these two poles, as Cayce investigates The Footage (among other things), while seeking to avoid her mother’s obsession with electronic voice phenomena.

William Gibson’s Pattern Recognition (2003) is arguably the most significant description in fiction of an internet-age ARG. While the previous examples mentioned used costumes, actors, paint, and even a CNN hack as content, Pattern Recognition's ARG-like entity is built on digital video, distributed through the internet, and discussed in classic ARG fashion on discussion boards. The plot concerns The Footage, a fragmentary series of film clips apparently produced by the same source, but whose interrelationships are unclear. The distributed communities obsessed with The Footage research its components, closely analyzing them, extrapolating, testing, and revising assessments which coalesce into a sense of the films’ plot. TINAG appears once more, as The Footage is published secretively, in no single location, and is discovered in a distributed, uneven way. Debates occur around ruling content in-Footage and out-. Even the name, The Footage, is provisional and unofficial. Newcomers to ARGs who gradually realize that these games lack clearly defined boundaries around who is and who isn't a player would recognize Cayce’s interaction with Footage players. Some of these players suddently appear in face-to-face meetings, even though they are are strangers to the protagonist, such as a restaurant worker who recognizes Cayce as a fellow player:

One of the best-known fictional representations of ARG-like games is The Game (David Fincher, 1997). As with our previous examples, the main character, Nicholas Van Orton, plays and is played by a game embedded within his life and environment. The many puzzles and plot elements are mixed with out-of-game details, and distributed across reality itself, undermining the possibility of defining anything as “out of game”. As with any ludic text, Van Orton must play the game for its plot to advance, questioning strangers, investigating mysteries, and traveling to new locations. If he had ceased to play, the rest of the narrative would have been suspended (and the film ended quite early, or transformed into a truly strange, other story). Also consonant with our other antecedent texts is the ethical drive of the game, since the film is in many ways about Van Orton’s improvement as a human being. He begins as a cold, isolated, wealth-obsessed shell of a man, and grows out of that state as the game intensifies.

the man who feels this desire for a varied life pays a yearly or a quarterly sum to the Adventure and Romance Agency; in return, the Adventure and Romance Agency undertakes to surround him with startling and weird events. As a man is leaving his front door, an excited sweep approaches him and assures him of a plot against his life; he gets into a cab, and is driven to an opium den; he receives a mysterious telegram or a dramatic visit, and is immediately in a vortex of incidents. A very picturesque and moving story is first written by one of the staff of distinguished novelists who are at present hard at work in the adjoining room. Yours, Major Brown (designed by our Mr Grigsby), I consider peculiarly forcible and pointed; it is almost a pity you did not see the end of it.”

G. K. Chesterton offers another ARG story in The Tremendous Adventures of Major Brown (1905, in the Club of Queer Trades collection). During his retirement, the main character stumbles into a game being staged for him, and finds his faculties revived. The puppet masters, the Adventure and Romance Agency, Limited, use planted characters in Brown’s neighborhood, “chance” encounters, mysterious messages, hidden locations to simulate an invigorating adventure. The plot only unravels when Brown discovers the Agency, who then asks him to pay the game’s bill. This game is perhaps too deeply embedded in the player’s life to be the sort of ARG we recognize, but we can certainly appreciate the mix of distributed game content pieces and the delight in play:

ARGs and ARG-like projects have appeared in fiction for some time. We can begin with the past century, and one of the most widely-read, John Fowles’ The Magus (1965, revised 1977). Its protagonist, Nicholas Urfe, plays an elaborate, multi-leveled game, at one pointed dubbed a “godgame,” with ever-shifting characters, levels of fictive identity, and a deepening intrusion into his life. The game’s focal character and likely puppet master, Maurice Conchis, is the titular magician, but the precise nature of his role shifts as the game progresses, burying rather than revealing his intentions for most of the novel. As with any ARG, Urfe must investigate mysteries in order for the plot to advance. He interrogates visitors, trespasses on Colchis’ property, and attempts to influence the outcome of subplots. At the same time, as with EA’s ill-fated Majestic, “the game plays [him].” The game staff read his mail, mentally and physically torment Urfe, invade his personal life, and gradually draw him into a series of existential crises culminating in a romantic confrontation. The boundaries of the godgame are never clear, as with a good ARG, with part of the action consisting of Urfe trying to determine what is game and what is not.

Even accepting that limitation, we can detect several antecedent threads leading up to the ARG. We will consider four such strands in the present discussion: fictional representations of ARG-like enterprises, games using ARG strategies, art using ARG strategies, and hoaxes relying on the TINAG principle.

However, we can exclude many such works for the time, partly for reasons of space, but also being based on a single factor: most are evidently games or call attention to themselves as puzzles. They do not demonstrate a sense of the TINAG principle (This Is Not A Game), which David Szulborski (among others) sees as central to ARGs. They remain clearly identifiable as fictions, even though the structure of those fictions purports to be different than their publication history. They often appear in media or genres mature enough to allow this sort of play. They lack the boundary-crossing of ARGs, which clearly challenge the distinction between fiction and nonfiction, or at least open up the possibility of a different, mysterious platform for stories beneath the evident one. This crucial aspect of ARGs distinguishes them from other digital narratives and games, and can be viewed as a horizon or boundary around the field.

Examples of ludic texts are well known in the established field of hypertext scholarship, as hypertext stories must also be operated to read: Maya Deren’s Anagram of Ideas on Art, Form and Film (1946), the OuLiPo group's activated poetry (1960ff), or the puzzles within the conclusion of Mark Danielewski’s House of Leaves (2000). The performance-oriented school of dramatic criticism leans to the ergodic, in this sense, as does performance art: radically, these texts require performance to be comprehended. Hoaxes surely fall into this history, texts pretending to be authored by or for something other than they are, such as Edgar Allan Poe’s Narrative of Arthur Gordon Pym of Nantucket (1838), which purports to be a true story of fantastic adventure and survival, or The Blair Witch Project (1999), with its swarm of documentary evidence and staged discussion.

ultimately resolve into a unitary timeline, the ludic text’s reader is required to select from choices, actively constructing a single narrative path, which won’t necessarily be the same on rereading (or replaying). Henry V, in contrast, retains the same plot each time (setting aside what the reader might learn between readings).

Five Frames Flickr Group” ( http://flickr.com/groups/visualstory ). 9 I owe a debt of thanks to the kind commentators at Infocult, who offered so much useful discussion on this topic:

The thin but important tradition of play-based, or “ludic”, texts play a key role in preARG history. These are books or other documents whose very form is gamelike. The most famous example is the Choose Your Own Adventure series (Edward Packard et al, 1979ff), which are both played and read at the same time. Published for a children’s audience, and beloved by ARG designers and players alike, these books reared two generations on both hypertext and the practice of reading a story as game/game as story. A similar group of books is the Fighting Fantasy series (1980ff), which let readers jump from page to page by dice rolls as well as choices. Espen Aarseth describes these influential texts as “ergodic”, requiring work (“erg”) to read. Like ARGs, “playing” ludic texts is essential to reading them. Unlike a traditionally linear text, like a Shakespearean history play, with a one-way track through events, the reader must choose a path through alternatives. Unlike flashbacks, flashforwards, or other time-based narrative strategies which

The full set of antecedents is fairly large, drawing on a wide range of games, documents, practices, and grows even if we include the literature of hoaxes and publishing stunts. This describes, for example, the eighteenth-century practice of pseudonymous authorship, extending into the eighteenth century with writers like Jane Austen, and as far into our time as Primary Colors (1996). The roman a clef appears under this rubric, based on the game of mapping a fiction’s characters onto their nonfictional targets, as in the Romantic-era satirical works of Thomas Love Peacock. Part of the pleasure in reading Robert Penn Warren’s All the King’s Men (1946) lies in unraveling the details connecting fictional Willie Stark and his unnamed state to Huey Long of Louisiana.

In her influential Hamlet on the Holodeck (1997), Janet Murray offers a powerful theoretical approach to ARGs 9 . Every new technology-based medium, she argues, evolves in two early stages. The first sees the porting over of forms from other media, as when early movies relied upon theatrical conventions. During the second stage creators pick up on the intrinsic elements of a new medium, and create new forms. In cinematic history, we can consider Griffith’s innovation of moving the camera while filming, or Dziga Vertov’s use of editing to break up filmic time and space (see also Manovich, 2001). A similar process is visible across the history of digital media. The first decade of Web design, for example, built HTML documents with the trappings of print (pages, bookmarks). As we see the proliferation of newer technologies, some dubbed Web 2.0, new storytelling forms emerge.

As with any cultural development, Alternate Reality Games (ARGs) depend in part on previous practices, texts, and traditions. While the outlines of any given ARG may seem strange or alien – fictional characters calling real life players, distributed detective teams, cryptograms and steganographically-hidden items advancing plots – their appearance evokes a previously hidden history of mysterious, gamelike texts and plots. Indeed, we can view the ARG as a revisionary project, recasting narrative in a mix of old and new lights. The antecedents to ARGs cross media, nations, genre, and canonical status, and seem too disparate to cohere. Alongside the podcasted novel, books read as RSS, and ghost stories told by images posted to a discussion board, 8 the ARG represents an emergent narrative form, deeply based on the affordances and possibilities of new media.

multiplayer worlds. Linden Labs actively encourages the use of Second Life for learning by distributing free accounts to teachers at universities and colleges for students to use though the Campus: Second Life program. Second Life then becomes a real-time collaboration tool to engage distant learners in ways traditional online learning does not offer, and ARGs become another way for people to learn while having fun. As this is a relatively small and new category, it has the most in common with the Single-Player ARGs and is still finding its place as a sub-genre as it grows in popularity.

Comparatively speaking, the massive multiplayer genre has also seen similar outgrowth in use, and this category shows the most potential for consistent growth in both ARGs and massive

Another small category, this category illustrates the growing flexibility of the ARG medium to be used for training and team building. Noted ARG expert Brooke Thompson parlayed her skill in ARG creation to take employees on a journey into a world where corporate communication led to humorous results, while subtly attempting to train players in skills designed to increase interdepartmental communication 22 . Titled SMB: Missed Steaks, the game was tailored for a specific audience, yet similar to most corporate training in that it imparted lessons that can easily be exported to other departments and companies. While Educational/Training efforts are the least talked about sub-genre in ARGs, they do exist, and are a natural and sensible extension of the genre due to the pervasiveness of technology and collaborative efforts often needed in other types of ARGs. In recent years, mobile and PC technology have increasingly been viewed as a yet another delivery platform for all sorts of content on a day to day basis – something that ARGs discovered early on. In education and training efforts, collaboration is encouraged and welcome. Societal pressure and the pervasiveness of varying forms of media in general have led educators to adopt new strategies to leverage existing and in many cases, emerging technology to capture and engage students’ minds. Many higher education campuses require computers, enticing students with steep discounts with the help of manufacturers and software companies – some even require cell-phones 23 . Educational/Training ARGs can share elements of the Single-Player category, but instead, they promote a non-traditional product. The product isn’t a movie, or a shirt you can wear, or a card to keep – it is simply knowledge.

While it is possible for larger scale ARGs to be played individually, they are designed to benefit from collaborative community interaction. Single-Player ARGs also can be designed to be free of traditional time constraints, allowing them to be played whenever they are stumbled upon. These games are also designed to rely more on generic and predictable reactions to the puzzles presented. It is true that ARGs can be played in a single or collaborative fashion, but it is the strength of this sub-genre that the games are designed to be played in such a fashion that anyone with enough diligence can solve the puzzles within by themselves, making single-player ARGs a bit easier to follow and ideal for genre newcomers. ARG creators in large-scale games in other sub-genres have come out on record admitting that many puzzles were designed so that one player could not solve everything due to the wide range of knowledge required. Single-Player ARGs often do not stay that way for long – as fans learn about the game, information is swapped and shared. The fans usually collaborate to solve all the puzzles as teams and post their findings as rapidly as possible -once the puzzles are solved, players who are “late” to the game can simply read a walkthrough with all the available solutions, making the game as “easy” or “difficult” as the solo player wishes to make things. There is no “new” content to discover, unless the game has been updated or a puzzle within the game was never solved by the “first wave” of players. Instead of using live actors, or having the expense of relying on live events to move the action in the story forward, this sub-genre can leverage “chat bots” such as Alice bots if “live interaction” with a story character is required and websites to move the story towards a conclusion. However, the more automated the interaction is, the more superficial and slightly less personal the experience becomes regardless of the sophistication of the technology used.

played entirely by an individual. The stand out ARG in this category is Jamie Kane, created by Cross-Media Entertainment for BBC. Jamie Kane can be started at any time and lasts for approximately two weeks, start to finish 21 .

Single-Player games merit their own category, as the nature of these games are often (but not always) promotional in nature (example: ReGenesis, The LOST Experience) but are tailored to be

While business models are discussed elsewhere in this paper, recent examples of Productized ARGs include Mind Candy’s Perplex City and EDOC Laundry’s line of clothing.

"Majestic" drew such an anemic audience that Electronic Arts abandoned the story half-way through. Of the 800,000 people who started to register for the free, first installment of the game, only 71,200 completed the process. That number fell to 10,000 to 15,000 subscribers when it came time to pay. It was a grand experiment, but one that ultimately cost EA between $5 million and $7 million. – Chris Morris, CNN, “Innovation at Risk?”, December 2001 20

While developed at the same time as The Beast, Electronic Arts’ Majestic (2001) differed on several levels. Unlike The Beast which was free to play, Majestic was designed to be a commercial product from the outset 19 , announcing itself to the world many months before it launched, and quickly having to re-establish itself as “not a game” once it did. How did Majestic fare in the market? Dismally - by all public reports.

This genre is most clearly defined with a product as the driving effort of game or critical to puzzle solving within the game. This category also includes commercial efforts designed to fix a business model on top of an ARG experience.

Over the years and to the present day, the grassroots sub-genre is by far the largest one in the Alternate Gaming reality sphere, most likely due to reasons similar to those expressed by Mr. Szulborksi. A very small look at a long list of grassroots efforts chronicled at the “unforums” include successfully concluded games Acheron, Alias: Omnifam, Metacortechs, Anyone seen James?, The Carer, Rookery Tower, Strange Dreams Pts 1 & 2, Wildfire Industries, and an even longer list of efforts that have either “imploded” or suffered a “meltdown” and did not come to a “successful conclusion”.

Author Dave Szulborski (and puppetmaster of many games, including Urban Hunt, ChangeAgents, and Chasing the Wish) comments in his book on the compelling phenomena of ARG creation in This Is Not A Game, “Even without being actively involved in the genre for a couple months though, I couldn’t stop ideas for new games from percolating around inside my head.”

The motives for engaging in the creation of Grassroots games have been clearly diverse. Exocog, for example, began as an exercise launched by Miramontes Studios and Jim Miller to learn how to conduct an interactive marketing campaign. Exocog is an example of a “fan homage” style game, as it tied in to the then upcoming release of the film Minority Report, but Lockjaw established an entirely independent storyline wrapped around fictional biotech company GanMed and a group of urban explorers named DCMetroCrawlers. But what is the draw for creators to spend a significant amount of personal money to establish an alternative universe?

Grassroots game usually contains a clue, or must be delivered somewhere. These items tend not to cost the player anything other than the effort required to get them. Grassroots games can also be more flexible, since they are not officially endorsed by a company in their efforts.

Even with a smaller budget, a Grassroots ARG that appears smooth, professionally done, and presented by a well skilled (and often genre experienced) team can gather a lot of attention quickly. Urban Hunt blurred the line between a Promotional ARG and Grassroots by appearing to promote a reality TV show. Games in this sub-genre also can diverge wildly in content, and allow previously unexplored boundaries in content delivery to be explored with a wider range of freedom. Chasing the Wish included dozens of game related artifacts, expanding upon the idea of a small metal disk that found itself part of Majestic-world based ChangeAgents: Out of Control. When the disk proved to be an incredible hit with players, incorporating real items into a very internet and media based strategy for content delivery became yet another way ARG makers could touch their audience. Unlike Promotional ARGs, where the “point” is most often related to the product being pitched, and Productized ARGs, in which the purchase of a product is highly tied into the game itself, Grassroots games use these items as a means to an end. The item(s) in question for a

The fact that these games are funded privately also means they are run as volunteer efforts, which can occasionally lead to turn over of staff or a higher risk of failure or the ARG itself due to the circumstances or just the nature of the team assembled. Even wildly successful games such as Lockjaw had had turnover in staff before they even launch. ARG failure is not notably new – Majestic is held up as a shining example of a Commercial/Productized ARG that failed in a very public way. With Grassroots efforts, the risk of failure (often dubbed “implosion”) is much higher. Grassroots games have no corporate backing so when they lean on existing IP for inspiration (such as Matrix-based MetaCortechs, or other films) they may be mistaken for official efforts by players. Early efforts in the Grassroots area include the notable Ravenwatchers, which appeared to gain more notoriety for its failed start than much else and Lockjaw. Lockjaw catapulted Grassroots ARGs into the media’s eye with a short (but tantalizing) teaser article in Wired magazine prior to launch 18 .

Grassroots games, as they have come to be called, are designed by individuals (or likely teams) either as a bit of fandom work, or as a stand alone work of fiction. Generally, these games operate with a much smaller budget than Promotional efforts. Depending on the type of game, reported costs range from around $150 (Exocog) to over $2000 USD (Chasing the Wish). They can be done for free, but the bar has already been raised by many high quality efforts and it is likely any aspiring ARGtist/ARGitect/”puppetmaster” will end up investing at least a minor sum in order to implement a game that will attract a fair size audience and be worth doing. The audience these games attract is often smaller and forms a more tightly-knit community as well, although there are exceptions to the rule that compare to fully-funded Promotional efforts. Notably Last Call Poker (Promotional) attracted approximately 10,000 players, while quoted numbers for MetaCortechs (Grassroots) fall around 12,000, although they both ran for similar timeframes (Last Call Poker ran 90 days, MetaCortechs, 80) 17 .

This sub-genre of ARGs began to surface shortly after the end of “The Beast” in an effort to keep the newly established community thriving as well as attempt to recapture the magic that the first major ARG was able to do so well.

The two compelling stand out feature of this category is often the presence of outside funding to the team that is creating the ARG, and the degree of interactivity with a product. The funding feature sets it apart from Grassroots (“self” or small group funding), and Productized ARGs (where the funding comes from a product being sold concurrently to the game). The degree of interactivity sets it apart from Productized ARGs. Promotional games can be Single-Player or multiplayer, as well.

Designed for large scale audiences and funded accordingly, these efforts attract audiences anywhere from 10,000 to 3 million. Promotional efforts are considered “officially approved” original stories that take place in an existing fictional universe, providing consistency in content, making them different in presentation from “fan based” grassroots efforts that must neatly skirt around IP issues while at the same time presenting a compelling “hook” for the story that they wish to engage players with. At the same time promotional efforts also have the potential to be but are not necessarily to date less flexible than grassroots efforts in storytelling due to the nature of scale involved.

These games also can be enjoyed independently of the product itself, but are occasionally more transparently ad-like then other sub-genres, especially in the later stages when the game is reaching its conclusion. I Love Bees culminated in large scale events that allowed “crew members” to play Halo 2 before the official release – and launched itself by sending out jars of honey with the phrase “I love bees” floating inside at the same time the URL to the first site (in ARG terminology, the “rabbit hole”) flashed on Cineplex screens at the end of a theatrical trailer for Halo 2. The LOST Experience was launched after the television series LOST was well underway (towards the end of its second season), not before – and made no pretense of covertly announcing itself to the world 16 .

This sub-genre is the one that started it all, and are often what people mean when they refer to ARGs as a whole due to their high profile nature. These are the games that everyone can name due to media exposure – articles about ARGs do not fail to mention I Love Bees, for example. Promotional games are at the core designed to push a product to the audience in a way that does not necessarily require off-screen interaction with that product to a large degree. As product tie-ins, this medium lends itself nicely to video games (Halo 2’s I Love Bees; Gun’s Last Call Poker), movies (A.I.’s The Beast) and television shows (Push, Nevada; Lost; ReGenesis), although games like Art of the Heist (Audi) illustrated the potential for raising brand awareness in other products.

While it is possible to draw up categories similar to books, movies, and even massive multiplayer games (sci-fi, horror, fantasy), this style of genre definition fails quickly due to the puzzle based nature of ARGs. All ARGs at heart are mysteries – things appear “out of nowhere”, clues lead to puzzles that lead to solutions (that often lead to even more puzzles). It is easy to draw up a quick list in an attempt to define sub-genres by predominant content style – puzzles, multimedia, interactive/real time, and the like. This list also leads to a rapid quagmire as over the course of an ARG the game may appear to be predominantly one thing and change instantly into another – a series of flashy multimedia may morph into a series of puzzles leading to a string of real-time events, giving each style of content “equal time”. Finally, it is almost too simplistic to define sub-genres of ARGs according to if they are “professionally” run (by a media company or marketing department within a company) or not, as four of the above categories can be run by “professionals” (grassroots being the exception), and four of the above categories can be run by “independent” efforts, but those definitions don’t say much about the games and are better loaned to a discussion of business models, found later in this paper.

treasures. Does a person need to suspend disbelief to enjoy Perplex City, which is arguably another sort of treasure hunt? It isn’t necessary – the game already does that for the player. Additionally, immersive play such as “Street Wars” falls short of being an ARG – no reality is suspended, as the understood rules do not allow interference with day-to-day activities except within defined parameters (no one is going to “assassinate” a player during/at work, where an ARG such as Majestic could send you a fax or call a player at work, during normal ‘business hours’).

Collective intelligence efforts also have ARG elements to them – websites often crop up to engage in collaborative interpretation and debate, but a web board discussing JK Rowling’s hints for the last volume of Harry Potter falls well short of the definition of an ARG. It is only when these efforts are taken to the next level, and the mediums being discussed react to the community’s actions that the above categories spring to life to tease and delight the audience with yet another bit of information. Over time, people have referred to all kinds of collective play activities as ‘an ARG’ or ‘ARG-like’, however not all these activities are ARGs. An example of this would be treasure hunts. Treasure hunts by themselves are not an ARG because they are simply a sub-genre of puzzles that can in turn, be incorporated into a larger story/game/puzzle that is commonly known as an ARG. While puzzles are by nature two-dimensional (even pacManhattan, with an emphasis on recreating Pac Man in three dimensional space, still falls ‘flat’ due to the singular game-style focus, and limited scope) with clearly defined rules, ARGs enjoy a certain freedom by not spelling out all of the “rules of the game” in advance. In fact, once inside the game, the often recited mantra of “this is not a game” becomes the only “real” rule in order to preserve the alternative reality setting. When rules are presented in an ARG, such as Perplex City, they are done in an in-character and in a way that does not break the flow of the setting 15 . ARGs also tend to require a voluntary suspension of disbelief to enjoy. Does a person need to suspend disbelief to enjoy the experience of A Treasure Trove and its underlying story? Certainly not, the story is presented as a beautiful illustrated fairy tale that also happens to provide clues to a now-found real world group of

What all of these games have in common is a level of interactivity, although how in-depth that interactivity is expressed tends to vary. Perplex City creator Michael Smith aptly and succinctly described the ARG genre when he was asked what Perplex City was: “part story, part game, part puzzle”. Longer definitions of the genre as a whole incorporate the compelling community elements that players flock toward and the use of multiple forms of media such as e-mail, websites, text/voice messaging, live events, and similar strategies for content delivery.

By defining sub-genres within the ARG field it helps observers understand what is currently available in context of other games (both present and past) that may be similar in nature. There are five main sub-genres used for this purpose, although some games understandably (and in some cases, intentionally) blur the lines between categories:

Originally funded and developed by independent game-makers, the popularity of the Alternate Reality Gaming genre (ARG) has grown in a way that lends itself to a further breakdown into several sub-genres. This section is intended to cover a large variety of games within ARG, in order to find examples to help define each category by comparing and contrasting the different sub-genres present in the field. Not only can ARGs be used to just tell a story, but players can also be taking part in team-building activities, educating themselves on Internet use, or merely participating in a publicity or advertising campaign.

The community for the game gathered on forums hosted on WhoIsBenjaminStove.com, a website created and maintained by one of the central characters. While this is nothing new to alternate reality games, the control that the game gave to players was unique. The forums were hosted and maintained by a character, but they were moderated by players who showed leadership and previous experience in moderating forums focused on alternate reality games. This allowed players to deal with questions and comments relating to the game reality without involving a character who might be suddenly confronted with the reality that they were, in fact, fictional. More importantly, it allowed the players to maintain control over the space and feel as if it was truly their community. This had the added benefit of inviting a strong shared culture and experience which has, in some ways, followed the players as they have joined other forums and games.

The game’s mystery revolved around the original owner of the painting, Benjamin Stove, with players and characters trying to discover who he was, where he might be, and, eventually, what led to his interest in ethanol. Tracking down Mr. Stove, required players to communicate with a character in Brazil and uncover notes he had left hidden in libraries throughout the United States. At one point, clues led one of the characters to Campbell-Ewald’s offices in Detroit and, from there, players received more confirmation that General Motors might be involved. The big reveal, however, took place in late April when Benjamin Stove published an open letter to General Motors with General Motors responding in ads in the USAToday as well as a number of popular websites directing people to their Live Green, Go Yellow campaign website for more information.

Designed by Campbell-Ewald and executed by GMD Studios, Who Is Benjamin Stove? launched in early January with a character who had discovered an odd painting while was visiting his parents for the holidays. The painting was of a crop circle in a corn field that had the shape of an ethanol molecule; a shape that would reappear a number of times throughout the campaign. Players immediately recognized the ethanol connection and, while trying to uncover the game’s mystery as well as who might be backing the campaign, discussed the benefits and uses of the fuel. Several weeks later, when a Live Green, Go Yellow commercial appeared during the Superbowl, active players quickly determined that General Motors was likely behind the campaign. It would be several more weeks before they would receive confirmation.

• Running dates: January, 2006 – April, 2006 As a promotional campaign, Who Is Benjamin Stove? was unusual. It was not designed to promote a specific product and nor was the client revealed until several months into the campaign when they suddenly found themselves in the campaign. It’s confusing, but it worked.

The two episodes launched thus far (Out in the Cold, Perfect Friends Forever, and Descry.us) have received mixed reviews with players who paid for the additional interaction feeling more satisfied with the overall experience. However, the company behind the game, which maintains a blog on their website for company announcements and post mortems, has actively listened to and addressed player complaints.

Though the episodes are part of a larger series, players must subscribe to each one individually. The US based company charges $9.99 to players within the United States and $13.99 for those outside of the country, presumably to cover the additional communication and shipping costs. Players who subscribe are given the title of “Wakefield Agent” and, in addition to the interaction, are granted access to game and story updates prior to those who do not subscribe.

The story universe revolves around the Cyphers, a team of paranormal investigators and conservators, who have operated independently with no problem for years. However, things have changed and psychic forces being what they are, they need help and created the Wakefield Agent program in order to get it. Against this backdrop, the series lays down episodes which contain individual mysteries for players to solve while also delivering clues to the larger game story.

Studio Cyphers is a serial based game with game episodes lasting about a month long each. It utilizes an interesting subscription based model that allows those who subscribe to an episode access to additional content and interaction while anyone may follow along with the story and work through the puzzles for free.

In order to contain the discussion that is inevitable in a collaborative play experience, the extended reality makes use of message boards within the game reality. Players may find that they are reacting with both players and characters as the game progresses which adds an interesting dynamic to the game play. And, because the game environment is so controlled and all of the players understand they are interacting with a fictional world, the typical confusion found on in-game message boards is drastically reduced.

Because the game is designed to be deployed multiple times as the series is aired in additional markets or in syndication, the designers need to control who accesses the websites and minimize the discussion about the experience elsewhere on the internet. As the websites are designed to change throughout the experience and in sync with the television episodes, they need to be displayed on a user by user basis. Additionally, website access is blocked to visitors that have not registered to the site to both minimize discussion and avoid search engines and archival websites from copying, or caching, the websites at various stages of the game play. The unfortunate side effect is that casual browsers and information seekers often include people that would tell others about the game or that would register once they were sufficiently intrigued by the experience.

When the television programme was picked up for another year, it was no surprise that they wanted to include the extended reality. Learning lessons from the first season, they made the experience more accessible to wider range of player types. For example, they included a flash based game that introduced players to the scientists at the NorBAC lab that required minimal time commitment and provided another entrance into the alternate reality game. Through video-ondemand, viewers interested in the extended reality story but without access to the internet or the time to commit to the experience were able to receive story updates. A mission based play scenario provided direction to players who were overwhelmed by the freedom of exploration. The only people that lose out on the extended reality are casual browsers and information seekers, but that is by design.

The ReGenesis Extended Reality (commonly referred to as just ReGenesis) is an alternate reality game that runs along with the popular Canadian television show, ReGenesis. Extending the one-hour bio-threat drama over multiple platforms, including websites, email, video-on-demand, voicemail, and real world events, the game allows players to explore the world as agents aiding NorBAC, the North American Biotechnology Advisory Commission. After the award-winning first season, Xenophile Media, the design and production team behind the experience, did something that had never been done – they redeployed an alternate reality game when the programme was syndicated.

The fourth and final wave of puzzle cards was released in July, 2006 and, as far as those outside of Mind Candy know, the cube could be found any day now. Capitalizing on the success of the puzzle cards, Mind Candy has announced that Perplex City will be continuing in another episode and that a board game based on the world will be arriving at stores mid-late September, 2006. The designers of the game have also expressed a desire to take the Perplex City universe as far as possible, including books and film.

Despite some initial controversy over whether players would need to purchase the cards in order to participate with the alternate reality game or discover the location of the cube, neither is true. The cards support the game both monetarily and story-wise, but the game is free to any who wish to participate. Though, it is undeniable that the cards have become a source of community building with players meeting both on and offline to trade the cards, solve puzzles, and discuss the game.

The fictional Perplex City is a large city in an unknown universe that has recently connected to Earth. Perplex City’s priceless artefact, the Receda Cube, has been stolen and is hidden somewhere on Earth. In order to recover the cube, one of the city’s residents enlisted the help of Mind Candy to spread the word on Earth. As the Perplex City culture revolves around puzzles, where they compete in puzzle contests much as we on Earth compete in sport, he proposed the puzzle cards as a way to familiarize the citizens of Earth with the world of Perplex City and offered a £100,000 (approx. $200,000 or €150,000) reward for the safe retrieval of the cube.

Perplex City, created by London-based Mind Candy, is one of the first successful self-supported alternate reality games. The game finances itself through the sale of collectable puzzle cards that provide insight into the Perplex City universe. The cards also direct players to the massive online world where the story of Perplex City unfolds. But the story isn’t just told online, there have been a number of live events, primarily in the form of city wide scavenger hunts, that have provided some of the most talked about story events. Who wouldn’t talk about a helicopter whisking away a mole that had infiltrated your group?

Initially envisioned as two one-week long mini-games, the complex story grew into a full blown alternate reality game that was played out over a town month period and fifteen different websites. With a series of difficult puzzles attracting those that enjoy the complex problems, a sweet story of a little girl on an orbital colony surrounded by mystery and missing her father grabbing the hearts of story specialists, and enough personal email and chat to drive any character interactor wild, the game engaged a large number of players with little to no promotional effort and over the stigma of being a “training arg”.

As they had played dozens of games between them, they had a strong idea of what worked from a player’s perspective and this helped them tremendously. Despite a non-existent budget, they utilized their various interests, skills, experience, and locations to build a dynamic experience that included a variety of online communications as well as hidden cache locations in four different countries creating a truly global experience. To supplement their knowledge and create a game based in factual fantasy, they contacted a number of people in the space industry, gaining access to official images and information that would only add to the realism of the experience.

Orbital Colony was initially conceived as a way in which active players in the unfiction community could learn how to design and produce an alternate reality game. The goal was to maintain an open development group that received aid from experienced developers. However, they quickly realized the inability to keep the group visible while still allowing for a unaware player base that could become steeped in the mystery. Once the group closed itself to wandering eyes, the volunteer team struggled to stay together and it took almost two years before the game would launch.

The game was relatively ignored by the active alternate reality gaming audience at web sites such as unfiction. In part, this was due to the reputation of the earlier Alias web games among ARG fans as being light on both the interaction and narrative. However, missing the existing ARG audience did not hurt the experience. The game was embraced by fans of the television show and actively played on a website dedicated to the series. These fans had no experience with alternate reality games and their level of engagement with the game, despite it not being “official story” or “canon”, showcases the desire of fans of the story world, not just fans of alternate reality games, to participate with the story world beyond the small screen.

While the alternate reality game did not mirror or support the events in the broadcast show, it did follow a similar episodic arc. The initial vision was that players would be faced with a series of missions that would take a week to complete. The first mission was a set up as a qualifying test to allow the player access to the future missions. It was simple enough for anyone to complete and, essentially, served as an introduction to the play experience. That initial mission was available to players no matter how far along in the experience they happened to join the game and, after completing it, players would join in with the existing game audience as new missions were made available. Each additional mission would provide a specific goal that would advance the overall story arc.

As a piece of fan art, the creators did not have access to the current and future story lines. As such, they built off existing backstory creating their own adjacent but wholly separate storyline with new characters and events. This allowed them a certain amount of freedom while not conflicting with the show or upsetting fan expectations and understandings.

Omnifam was designed and executed by several genre enthusiasts as a fan-fiction piece revolving around the story universe of ABC’s Alias. While not the first alternate reality game to be written independently by fans for an existing media property, it was the first to do so for a television property and, more importantly, for a television property that had played with ARG-like aspects in the past. It went much deeper than the previous official efforts and included stronger interactivity and a richer narrative experience.

While it is not known yet whether Fallen will make it back to the small screen in the future, the Ocular Effect game served its purpose well, providing an interesting interactive story that included a number of the key elements of the Fallen universe. From the accounts of the active player base posting messages at the in-game forums, the experience was an enjoyable one and interest in the Fallen franchise has increased because of the game.

The game designers went out of their way to make sure that visual design was aesthetically pleasing while also serving the players needs. To this end, the Ocular Effect website underwent a dramatic cosmetic change about halfway through the game which made it easier to track Faith’s progress. The Oculus, an interactive Flash animation, was eerily beautiful and menacing and provided the creators a means to include interesting puzzles in a meaningful way. The videos and 360º panoramic photographs showcased on the main character’s blog were carefully framed and edited in such a way that suggested professionalism while still appearing to be created by an amateur. The game web sites were easy to read and with themes and styles carefully chosen to appropriately represent the site’s purpose.

The story of Ocular Effect was complex and simple at the same time --help Faith, an orphaned teenage tattoo artist who has always been obsessed with specific rune-like symbols, on her voyage of discovery, learning more about herself and the meaning behind the mysterious symbols. Early on in the game, Faith was given money by an anonymous source which she used to finance her trips to various locales across the world. Along the way, she found out that the symbols had connections to others who had experienced death, and by the end, Faith was able to put the pieces together to solve the mystery. An interesting and unique element in the game was the Oculus, a spheroid covered with rune-engraved plates, which provided players the ability to see both into characters’ pasts and the future of the game plot. Having the Oculus as a reference, coupled with an open line of interactive communication with Faith, players were able to help Faith with decisions, such as where to go next.

Ocular Effect was created as an interactive tie-in for the ABC Family television movie Fallen which premiered on July 23rd, 2006. The game began with a mysterious countdown that tempted players until Fallen aired, at which point the website changed and delivered interested players to a message board which was monitored and maintained by the creative team as a means to help to facilitate discussion and deliver content. By utilizing complex Flash content and on-location videos featuring the main characters, the game took players on a virtual journey around the world as they followed the characters to six cities in three different countries. While the game did not feature characters from the TV movie, or the books upon which it was based on, it was set in the same story reality where nephilim (mythical/biblical offspring of angels and humans) exist in our world.

With a strong online community already in place, fans of The LOST Experience can be found on any number of websites and forums devoted to the television show as well as forums devoted to gaming and alternate reality gaming. To assure that players are all working at the same level, The LOST Experience had an official guide that provided regular updates. While this was successful in keeping players informed of what is happening, there were some complaints that it was just leading players and discouraging the actual discovery process.

The game also experimented with new advertising methods. Since the advent of digital video recorders, such as TiVo, that allow viewers to easily skip commercials, networks have been struggling with ways in which they can appeal to advertisers. During several episodes of the television program, ABC aired commercials relating to The LOST Experience. Players, not wanting to miss clues to the Experience, sat through the commercial breaks. Additionally, sponsors of the television show were provided the opportunity to be involved with The LOST Experience. Sprite, Jeep, Monster.com, and Verizon participated with websites that contained clues and additional story information, while also including a marketing message, i.e. the website sponsored by Jeep, letyourcompassguideyou.com, contains one of the slogans for the Jeep Compass.

Produced by the networks that carry LOST in the United States, United Kingdom, and Australia, the online experience provided players with a storyline that runs parallel to the television program while also hinting at and even revealing some of the shows deeper mysteries. While the experience contained the alternate reality game standards of cryptic websites, video clips, and intriguing voice mail messages, it took it a step or two further with a character appearing on a late night talk show, a massive chocolate giveaway, and even a book available on Amazon.com and written by a fictional author who died in the plane crash that started the television series. .

About to begin its third season, the popular television program LOST has always had a loyal online following intent on discovering the secrets behind the mysterious show. This made it an ideal property for an experiment in combining alternate reality gaming with a television show so it should have been no surprise when The LOST Experience was announced last spring – just in time for the US summer hiatus.

While the alternate reality game is no longer being played, the story and game play is detailed on the website which still exists and continues to provide free online poker games.

Last Call Poker was also very innovative in the way in which it utilized play in real world environments. The website was created by the fictional Lucky Brown, an avid poker player who had passed away. Early on in the story, players learned of a game that he created called Tombstone Hold’em. Based on a popular poker variant, the game was played in cemeteries and utilized tombstones as part of their poker hand. Lucky’s estate set aside money to run various Tombstone Hold’em tournaments at locations throughout the United States. The events were held on Saturdays throughout the game run and attracted upwards of 200 players. Players were also encouraged throughout the game to visit local cemeteries and complete simple open-ended missions such as cleaning up gravesites, leaving flowers, and writing letters to people who had passed away. These events became deeply meaningful to players who participated. Additionally, this generated much conversation about the historic use of cemeteries as parks, the state of older cemeteries, and how to best remember and honor life.

The online story discovery highlighted an exciting dichotomy of collaborative and competitive play. Twice a week at assigned times, the website would update with new information being made available for players together. Players, aware of the time, gathered together for the event in a race to be the first to find new characters by working through story clues and inputting names into a search engine. When a character was discovered, the player would receive recognition on the website and new pieces of the story would become available. While dozens of other players were searching for the same character, the excitement over discovering new pieces of the story encouraged players to cheer on their competitors helping to solidify the community surrounding the game.

With casual or competitive online poker games, deeply immersive narratives, and ample opportunities for real world creative or active mission-based play, players could engage with the game in a variety of ways. Through episodic storytelling that provided a game long story arc occurring in present time as well as weekly stories that took players back in time to trace the gun’s history with both fictional and historical figures, Last Call Poker was one of the first alternate reality games to effectively consider various levels of engagement. Players that could only devote a short time in a single week and players that were heavily involved for then entire eight weeks were both rewarded with a complete story.

At first glance, the Last Call Poker website provides free flash-based online poker and, in fact, was promoted as such through various press releases. However, hidden not too deeply under the surface was a complex alternate reality game that included a wide array of story and play opportunities for casual and devoted players. Launched in the fall of 2005 as a promotion for Activision’s Gun, the website and story took players through a span of 150 years as they traced the history of a cursed Navy Colt.

The game makes heavy use of multimedia with many video and audio clips. Reviews have been positive and players are responding well to the high production quality. It is very obvious that it is a game, however, in true ARG fashion, the game itself presents a very consistent world and the interactions between the players and characters help to further blend the boundaries between the game's world and ours.

As with all fashion, the clothing line follows seasons and each season brings new items with new codes that unlock even more of the story. This allows the designers to pace the story delivery throughout the expected two year run. However, the limited number of articles in each season makes the game move at a slow pace. In order to engage the active players, especially once the season's clothing has revealed its secrets and the next season has yet to come, the characters provide regular updates and weekly puzzles on their respective websites. Through a mix of static web pages and forums, they are providing areas for players to both explore and come together as a community.

On the inside of each article of clothing the phrase "nothing to hide" is printed in code. That code is used as a key to reveal a secret phrase hidden within the bold graphic design. Players take the secret phrase to the EDOC Laundry website where they can then input the code which will provide them with a video, audio, image, or text based clip that reveals a part of the story. On the surface, the story is a classic mystery plot that revolves around the murder of the band manager for Poor Richard, a very popular yet fictional band. On a deeper level, the story mirrors that of the American Revolution. While most of the story can be revealed through those assets, it is backed up by several other websites.

Founded by Dawne Weisman, EDOC Laundry is a clothing label that specializes in apparel for the smart and stylish hipster while also delivering a large interactive story that unfolds online. While the interactive story is accessed through codes discovered on the apparel, the clothing and the online elements can stand apart. Not only are the clothes so stylish that people have purchased them with little to no knowledge of the online elements, but players are encouraged to share the information that they have discovered forming an active community that does not require people to purchase every article in order to uncover the story.

The game was designed to appeal to players who placed an emphasis on character interactions and realism. If someone unaware of the game happened upon the online experience, they may never have known that they were interacting with a fictional world. Events occurred in real time and as naturally as they do in our everyday experiences. The town and people that inhabited it could be anywhere or anyone. And, even though players were interacting with the characters, it was a voyeuristic experience of getting pleasure from observing a world so like our own. Well, aside from the strange mystical happenings.

Following in the footsteps of the previous alternate reality game, which was praised and criticised for its heavy reliance on personal email interaction, Catching the Wish was a character-driven narrative where personal communication with the characters that populated the fictional world was rewarded in kind. Players participated in conference calls, communicated via email, and even met characters in person. The vast amount of text generated from all of this communication could be intimidating to players entering the experience late in the game. Therefore the designers provided a comprehensive guide to the experience on a website that was outside of the game universe.

The game was designed to support a series of three graphic novels which refer to previous events as well as direct players to websites and characters in the current alternate reality game. With an experience as rich in characters and events as Chasing the Wish, this creative blending of print and online media allowed players new to the series an easy way to familiarize themselves with the events that the designers felt were important to the experience.

Catching the Wish took players to the fictional Aglaura, NJ where mysterious forces seemed to follow residents wherever they went. Dale Sprague, community activist and web designer, was plagued by dreams that seemed so familiar and real that he was driven to document them in a series of graphic novels. Unbeknownst to Dale, the events actually occurred three years earlier and were explored by players in Chasing the Wish, a previous alternate reality game by Dave Szulborski.

With all of this activity, it is an exciting time in the world of alternate reality gaming. While this past year has been filled with games created by teams experienced with alternate reality games, more and more people are discovering and exploring the possibilities. It’s just a matter of time before we see what they have come up with.

Television has been exploring the possibility of extending the story beyond the small screen and onto the internet since Fox first aired Freaky Links in 1999. They were not alone in seeing the potential of the new media and were quickly followed by ABC which experimented with several extended realities prior to this year’s The LOST Experience. Designed to carry US viewers of the popular and mysterious LOST throughout the summer hiatus, it also engaged players in the UK and Australia. ABC Family teamed up with Xenophile Media to extend the reality of this summer’s Fallen Miniseries. Xenophile had plenty of experience prior to this summer. Their multiple award wining ReGenesis was renewed for a second season this year. As broadband internet becomes more widespread and digital video recorders more common, networks will continue to experiment with ways in which they can engage viewers both on and off the small screen.

Mind Candy is far from the only company that has encouraged players to gather together to play in real world spaces. Two years ago, 42 Entertainment took gamers away from their computers and sent them on a quest to answer payphones in order to hear a compelling audio drama. They returned this year with Last Call Poker which, again, took players away from their computers and sent them cemeteries throughout the country to engage in active games of Tombstone Hold’em and to explore a real world space in a new or different way. Players and designers alike are embracing the trend of exploring real world spaces and there is no doubt that we’ll continue to see it rise.

Mind Candy has sent players in London, New York, and San Francisco on large city wide scavenger hunts and provided a physical artifact for players to come together in order to trade and share. That physical artifact is a collectable puzzle card which, sold in stores online and off and in a number of countries, helps to support the alternate reality game. Likewise, EDOC Laundry has built itself around a clothing line and New Fiction has published a comic book to support Catching the Wish. With Sean Stewart and Jordan Weisman’s Cathy’s Book soon to hit shelves, it appears that we are seeing the rise of alternate reality games built up around their own products with their own intellectual property.

Over the past five years, alternate reality games have captured the imaginations of millions of people by getting them to play with worlds that are as fantastic as they are real. The ease of communication brought about in this digital age has driven story tellers and game designers to explore new ways in which their audience can participate with the interaction between fictional and real worlds. What started as experiments with two of the biggest companies in the game industry, Microsoft and EA, have moved on and combined efforts between advertising agencies, movie studios, television networks. This resulted in promotional campaigns and games that extended the story universe off of the big or small screen and into the hands of the audience. Today, not only are the big industries still looking into the possibilities but also small independent companies with a desire to create healthy financial models around this new genre of entertainment. Looking at a number of the games that have appeared in the past year shows trends such as playing with funding possibilities, exploring the relationships between fictional and real world spaces, and investigating new ways to interact with stories shown on the small screen.

No player has thus far been injured in the process of fulfilling a necessary game function, although there have been some close calls. Players have put themselves into potentially risky situations due to inclement weather (I Love Bees). Players have also entered areas where they reported feeling threatened by non-players present on the scene (Art of the Heist). It is not clear whether a development company could be held liable in the event of such an injury, but some caution should be exercised to avoid the question at all, if possible.

The first and most obvious step: don’t require your players to do anything dangerous, illegal, or otherwise unconscionable in order to further the game. Moreover, because an ARG does not come with a rule book (at least, not to date) the challenge is even more compelling. It is possible, as with the Art of the Heist example above, to create the illusion that the players must do something legally shady in order to further the game, but in these cases, the boundaries between the in-game elements and out-of-game law should be clear to the players. Throughout the development process, the team must look, not only at the intended flow of the game, but also at how the game parameters might be misconstrued. The last thing a dev team needs is for a group of players to be arrested while fulfilling what they believed to be a necessary role in the game, be it hacking into a server that wasn’t in game after all or removing a ‘clue’ from private property that was unrelated to the game.

An ARG brings legal considerations into the field of game development to perhaps an unprecedented degree, because of the very real-world nature of the playing field. No lawsuits have been filed as of this writing, and it is entirely possible that none will be for years to come. Still, in the interest of providing both the players and developers with as safe an experience as possible, a dev team should always use caution in designing game parameters, particularly for live events. Games should always be designed with due consideration toward non-participants who could be affected by the course of play. (A game of tag might be a terrific in-game device, but not through the streets of midtown Manhattan at 5pm on a Tuesday. An example of great risk-management to protect bystanders was found in Art of the Heist, who provided the VIN of each vehicle to be ‘robbed’ – imagine if this information were absent or ambiguous and the players tried to steal SD cards from an out-of-game car!)

Many ARGs are produced as an ancillary effort rather than standalone projects. When an ARG is produced as a public relations or marketing effort, additional challenges will be present in complying with the canon of existing intellectual property, or working with a separate group who may exercise significant creative control. On the other hand, a commercial standalone ARG faces the problem of constructing a profitable business model. These topics are addressed in greater detail in a separate section of this white paper.

Physical live events, in particular, pose a hairy budgetary problem, because they are by nature only accessible to a subset of players. Total player participation and impact of the experience on both them and on non-participating players should be considered when establishing the budget for such a live event. In some cases, it may simply not be beneficial from a cost point of view to conduct a physical event.

It is very likely that the budget is one of the first known factors about the game development. When planning the budget spend, important factors will include burn rate vs. projected run time, ongoing maintenance costs, and estimates of available funds for heavy development and live events.

Greater resources permit a team to introduce more dramatic elements to a game (phone calls, significant programming projects, helicopters). A bigger budget also allows a team to invest in professionals for video and audio production, web design, coding, and writing, and can lead to faster development times and a more intense pace of gameplay.

Every game has a budgetary consideration, and ARGs are no different. Several non-commercial games have run successfully on shoestring budgets by using volunteered time and resources of the dev team, donated time from voice or live actors, free online hosting and blogging services, and so forth.

Because development and play are concurrent, there is a very high risk of team burnout. Very carefully weigh the planned story schedule and pace against the projected ongoing burden on the development team.

In many ARGs, development of the game continues concurrently with game play after the game launches. Every team presumably does as much work as possible before launch. Still, for most teams, a significant share of work is done post-launch in reaction to player activity and progress. This is especially true in games with longer run times.

Some teams have tried to downplay this angle of the problem by making these kinds of events of relatively small consequence to game play, or, as in the case of Art of the Heist and I Love Bees, by running a larger number of very similar small events across a large geographic area. It is strongly advised, however, to specify the target geographic area of your audience in your initial project specification.

An even greater geographic problem comes from providing interaction, particularly for physical live events and some forms of interaction. For example, a phone number is a local construct, and choosing to whom it should be local may exclude players who lack the capacity, money, or willingness to call long-distance, especially internationally. Moreover, physical live events such as Perplex City’s PCAG tournaments limit those portions of the game to players either local to the area, or those who have the funds and time to travel to the area for the event.

Physical geography, not typically a constraint for other varieties of gaming, becomes a problem for the ARG on three separate levels. First, there is the inherent tension between the global nature of the internet, over which much of an ARG typically unfolds, vs. player availability by time zone. Then there is the universal problem of globalizing any sort of game – breaching language barriers and still providing a great game experience.

Also keep in mind that the audience your game attracts may not be the one you had initially wanted or envisioned. Foster affection and especially respect for them regardless; they are the audience you have, and this means they are the people who really enjoy the creative effort you are putting into your game. Your players will probably be able to tell if you think of them unfavorably, and you won’t have them for very long.

Always love your players. It’s easy to get drawn into a combative relationship with the players, as the players often tend toward an adversarial relationship with the development team. It is seductive to set challenges and tangle plot with the sole intent of stumping the players, but this is not conducive to an enjoyable game experience for them.

Expectations can be altered after they have been set – and one could argue that every game has to struggle against the preconceived expectations players hold based on prior games they have played or heard about – but it is not a simple task. Some care up front can avoid loss of audience goodwill later on.

Similarly, if you avoid giving players a certain type of update or puzzle for very long, one should not be surprised when they cease to pursue that avenue, even to the point of missing it when you finally use it. For example, if a static in-game ‘corporate’ web site persists unchanged for three months, it would be unsurprising if the players do not notice when it is finally updated.

Once a development team has set a precedent, players will expect that level of pace or difficulty to be maintained. For example, as with The Beast, if your game starts out pushing multiple content updates including blog posts, email, and at least one or two brand-new web sites every Tuesday, your playerbase will be extremely unforgiving if a Tuesday goes by with no updates at all. This can set up a grueling workload for all of your developers, writers and designers; and while this may be acceptable for a game planned to run only 6 to 8 weeks, it may be completely unsustainable for a game planned to last several months.

Expectation management is a tricky business, as many an ARG development team will attest. For the sake of your relationship with your players and for the health and sanity of your team, one of the most important planning tasks of an ARG is determining the weight of work your team can shoulder over the anticipated duration of the game.

In order to assess the skill level of the players, it can be helpful to set a number of challenges of widely varying difficulty early on in the game to discover which ones seem the most popular and how quickly they are solved.

In some cases, the audience you attract may not be the audience you had expected during your pregame development phase. This can lead to an early mismatch between the actual skill level of the players and the skill level at which the game is conducted, in which case it is even more important to adjust expectations quickly.

Missteps in difficulty on the side of too-simple can lead to the players burning through content at a much faster rate than expected. This in turn leads to a breakneck development pace for the development team to stay far enough ahead of the audience that they can devote adequate time to quality assurance and testing, while ensuring that the game does not stagger to a halt in the interim. Too-difficult games will also throw off the pacing of the game, especially if the players are unable to progress and grow frustrated. (See the Hinting Strategies section for more discussion of coping with frustrated players.)

In the early days of a game, analyzing and meeting player expectations and abilities is probably the most difficult task. This is, however, a crucial task to complete.

Because it is the more common approach, most of this Methods & Mechanics section is written assuming the audience is an information-sharing and collaborative community. Language aside, most of this information applies equally to both situations.

There are two major approaches to an ARG audience: catering to a standalone player, or catering to a hive-mind community. The second approach is by far the most common, and some would argue that the community element is part of the definition of an ARG. That said, there has been one notable case of an ARG targeted at the standalone player, the BBC’s Jamie Kane project. This style of game is typically given to less branching, as the flow and outcome of the game are not as affected by individual players. On the other hand, this style of game is typically more accessible to late-comers, and may be designed to be replayable from the beginning by an individual at any time.

A few commonly-accepted conventions have grown up regarding the varieties of story that can be told in an ARG and how they unfold. Common tropes involve sci-fi or horror elements (time travel, ghosts, advanced A.I., etc.), conspiracy themes (secret government agencies, fanatical religious groups) or both. While not all games use these elements, the simple fact is that it is very simple to tie these types of story into the other elements of an ARG. For example, an organization whose existence depends on secrecy might plausibly have developed elaborate systems of codes and pass phrases, thus presenting the audience with puzzles to solve.

It is absolutely crucial to have a fallback plan if you are providing a challenge to the players and the reward is pivotal to further your story. It is very decidedly a best-practice to never rely on your players to solve any specific puzzle, regardless of how simple