This enables all NPC's to be more flexible. Human minds are always better than AIs. Because AIs are created by human and are designed to work in a certain way, but human minds can think of thousands of different ways.
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28 May 15
Leona Norris"An alternate reality game (ARG) is an interactive networked narrative that uses the real world as a platform and uses transmedia storytelling to deliver a story that may be altered by players' ideas or actions."
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An alternate reality game (ARG) is an interactive networked narrative that uses the real world as a platform and uses transmedia storytelling to deliver a story that may be altered by players' ideas or actions.
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- Puppetmaster – A puppetmaster or "PM" is an individual involved in designing and/or running an ARG. Puppetmasters are simultaneously allies and adversaries to the player base, creating obstacles and providing resources for overcoming them in the course of telling the game's story. Puppetmasters generally remain behind the curtain while a game is running.[3] The real identity of puppet masters may or may not be known ahead of time.
- The Curtain – The curtain, drawing from the phrase, “Pay no attention to the man behind the curtain,” is generally a metaphor for the separation between the puppetmasters and the players.[3] This can take the traditional form of absolute secrecy regarding the puppetmasters' identities and involvement with the production, or refer merely to the convention that puppetmasters do not communicate directly with players through the game, interacting instead through the characters and the game's design.
- Rabbithole/Trailhead – A rabbithole, or trailhead, marks the first media artifact, be it a website, contact, or puzzle, that draws in players. Most ARGs employ a number of trailheads in several media to maximize the probability of people discovering the game. Typically, the rabbithole is a website, the most easily updated, cost-effective option.[4]
- This Is Not A Game (TINAG) – Setting the ARG form apart from other games is the This Is Not A Game sentiment popularized by the players themselves. It is the belief that “one of the main goals of the ARG is to deny and disguise the fact that it is even a game at all.”[5]
Among the terms essential to understand discussions about ARGs are:
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ARGs are sometimes described as the first narrative art form native to the internet, because their storytelling relies on the two main activities conducted there: searching for information, and sharing information
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Storytelling as archaeology. Instead of presenting a chronologically unified, coherent narrative, designers scatter pieces of the story across the Internet and other media, allowing players to reassemble it, supply connective tissue and determine what it means.
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Platformless narrative. Stories are not bound to a single medium, but exist independently and use whatever media is available to make itself heard.
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Designing for a hive mind. While it might be possible to follow games individually, designs are directed at a collective of players that share information and solutions almost instantly, and incorporate individuals possessing almost every conceivable area of expertise. While games might initially attract a small group of participants, as the participants come across new challenges they try to find others with the knowledge needed to overcome an obstacle
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The "this is not a game" (TINAG) aesthetic. ARGs themselves do not acknowledge that they are games. They do not have an acknowledged ruleset for players; as in real-life, they determine the "rules" either through trial and error or by setting their own boundaries. Narratives present a fully realized world: any phone number or email address mentioned works, and any website acknowledged exists. Games take place in real time and are not replayable. Characters function like real people, not game pieces, respond authentically, and are controlled by real people, not by computer AI. Some events involve meetings or live phone calls between players and actors.
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Real life as a medium. Games use players' lives as a platform. Players are not required to build a character or role-play being someone other than themselves. They might unexpectedly overcome a challenge for the community simply because of the real-life knowledge and background they possessed. Participants are constantly on the lookout for clues embedded in everyday life.
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Collaborative storytelling. While the puppetmasters control most of the story, they incorporate player content and respond to players' actions, analysis and speculation by adapting the narrative and intentionally leave "white space" for the players to fill in.
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“can learn from the best practices and lessons of ARGs to similarly take advantage of new media and collective problem–solving.”[4]
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ARGs can be effective tools for providing exigence on given topics and yield a collaborative and experiential learning environment.[12]
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need for a flexible narrative conducive to collaborative learning in large groups and a sophisticated web design.[12]
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Samantha Martin"The Magus"
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Rabbithole
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Storytelling as archaeology. Instead of presenting a chronologically unified, coherent narrative, designers scatter pieces of the story across the Internet and other media, allowing players to reassemble it, supply connective tissue and determine what it means.
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Designing
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ver-the-top secrecy
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Real life as a medium
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ARGs are sometimes described as the first narrative art form native to the internet, because their storytelling relies on the two main activities conducted there: searching for information, and sharing information.
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Storytelling as archaeology. Instead of presenting a chronologically unified, coherent narrative, designers scatter pieces of the story across the Internet and other media, allowing players to reassemble it, supply connective tissue and determine what it means.
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ollaborative storytelling. While the puppetmasters control most of the story, they incorporate player content and respond to players' actions, analysis and speculation by adapting the narrative and intentionally leave "white space" for the players to fill in.
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The term Alternate Reality Gaming was first used by Sean Stacey, one of the moderators of the Lockjaw player community, in the Trail for that game. Stacey and Steve Peters, another of the moderators, created the two websites that have become the central hub of the ARG community: ARGN and UnFiction. Due to their efforts, when Lockjaw ended, the players had a new community resource allowing them to assemble to play the games that were soon to follow. Unfiction now boasts over 26,000 members, and ARGN employs a staff of 15 volunteer writers to report on new games and other topics of interest to the community, as well as producing a weekly netcast.
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Ms. Stern"In 2008 the European Union funded an ARG to support motivation for multilingualism within European secondary school students called ARGuing for Multilingual Motivation in Web 2.0 [4]. As noted above in World Without Oil, to complete this ARG it was necessary to move away from the strict definitions of an ARG as listed. The ARG was by invitation only and players (students) knew they were going to play a game. This project is now completed and papers on the project and the resources produced for education (a Methodology and Teacher Training guides)are available and have been presented at the 3rd European Conference on Games Based Learning.
In 2008-2009 the MacArthur Foundation supported an ARG The Black Cloud to teach US high-school students about indoor air quality. The project is active and allows teachers to rent sophisticated air quality sensors to run the game locally." -
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An alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions.
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evolves according to participants' responses, and characters that are actively controlled by the game's designers, as opposed to being controlled by artificial intelligence as in a computer or console video game.
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Rather than openly promoting the game and trying to attract participation by "pushing" it toward potential players, the designers attempted to "pull" players to the story by engaging in over-the-top secrecy
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Ming Liuthis is the article we are currently reading in class.
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Add Sticky NoteWhile ARGs generally use the internet as a central binding medium, they are not played exclusively on a computer and usually do not require the use of special software or interfaces. Non-player characters in ARGs are controlled in real-time by the puppetmasters, not computer AI.
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Due to factors like the curtain, attempts to begin games with "stealth launches" to fulfill the TINAG aesthetic, and the restrictive non-disclosure agreements governing how much information may be revealed by the puppetmasters of promotional games, the design process for many ARGs is often shrouded in secrecy, making it difficult to discern the extent to which they have been influenced by other works. In addition, the cross-media nature of the form allows ARGs to incorporate elements of so many other art forms and works that attempting to identify them all would be a nearly-impossible task.
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The "this is not a game" (TINAG) aesthetic. The game itself did not acknowledge that it was a game. It did not have an acknowledged ruleset for players; as in real-life, they determined the "rules" either through trial and error or by setting their own boundaries. The narrative presented a fully-realized world: any phone number or email address that was mentioned actually worked, and any website acknowledged actually existed. The game took place in real-time and was not replayable. Characters functioned like real people, not game pieces, responded authentically, and were controlled by real people, not by computer AI. Some events involved meetings or live phone calls between players and actors.
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Their serious subject matter may lead Serious ARGs to diverge from mainstream ARGs in design. Instead of challenging collective intelligence to solve a gamemastered puzzle, World Without Oil’s puppetmasters acted as players to guide the “collective imagination” to create a multi-authored chronicle of the alternative future, purportedly as it was happening.[43] By asking players to chronicle their lives in the oil-shocked alternative reality, the WWO game relinquished narrative control to players to a degree not seen before in an ARG.[44]
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In 2008-2009 the MacArthur Foundation supported an ARG The Black Cloud to teach US high-school students about indoor air quality. The project is active and allows teachers to rent sophisticated air quality sensors to run the game locally.
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06 Oct 09
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Dante-Gabryell MonsonAn alternate reality game (ARG), is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions.
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An alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions.
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09 Feb 09
chris FreyARG definition
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An alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions.
The form is defined by intense player involvement with a story that takes place in real-time and evolves according to participants' responses, and characters that are actively controlled by the game's designers, as opposed to being controlled by artificial intelligence as in a computer or console video game. Players interact directly with characters in the game, solve plot-based challenges and puzzles, and often work together with a community to analyze the story and coordinate real-life and online activities. ARGs generally use multimedia, such as telephones, email and mail but rely on the Internet as the central binding medium.
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- Computer/console/video games. While ARGs generally use the internet as a central binding medium, they are not played exclusively on a computer and usually do not require the use of special software or interfaces. Non-player characters in ARGs are controlled in real-time by the puppetmasters, not computer AI.
Similarities and differences to other forms of entertainment
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Role-playing games (RPGs) and Live action role-playing games (LARPs). The role of the puppetmaster in creating ARG narratives and the puppetmaster's relationship with an ARG's players bears a great deal of similarity to the role of a game master, gamemaster or referee in a role-playing game. However, the role of the players is quite different. Most ARGs do not have any fixed rules -- players discover the rules and the boundaries of the game through trial and error -- and do not require players to assume fictional identities or roleplay beyond feigning belief in the reality of the characters they interact with (even if games where players play 'themselves' are a long standing variant on the genre).[3]
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- Massively multiplayer online role-playing games (MMORPGs). As outlined above with computer games and traditional role-playing games, non-player characters in ARGs are controlled by real people in real time, not by computer AI; ARGs do not generally require special software or interfaces to play; the games do not require players to roleplay or create characters or avatars; and ARGs generally use multiple media and real life in addition to the internet to distribute their narratives.
- Viral marketing/internet hoaxes. While ARGs are often used as a type of viral marketing, they diverge sharply from the philosophy behind "sponsored consumers" or other viral marketing practices that attempt to trick consumers into believing that planted shills for a product are other independent consumers. Similarly, they also diverge from sites or narratives that genuinely try to convince visitors that they are what they claim to be. Puppetmasters generally leave both subtle and overt clues to the game's fictional nature and boundaries where players can find them (e.g. through clearly fictional names on site registrations) and many ARGs openly flaunt obviously fictional plots. The puppetmasters of the genre's seminal example, the Beast,[4] made it a point of pride never to pretend to be players in order to solicit publicity or nudge players along, and the Terms of Service of Unfiction, the central community site for the ARG genre, strictly prohibit individuals involved in creating games from posting about them without disclosing their involvement.[5]
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- Storytelling as archaeology. Instead of presenting a chronologically unified, coherent narrative, the designers scattered pieces of the story across the Internet and other media, allowing players to reassemble it, supply connective tissue and determine what it meant.
- Platformless narrative. The story was not bound to a single medium, but existed independently and used whatever media were available to make itself heard.
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- Real life as a medium. The game used players' lives as a platform. Players were not required to build a character or role-play being someone other than themselves. They might unexpectedly overcome a challenge for the community simply because of the real-life knowledge and background they possessed. Participants were constantly on the lookout for clues embedded in everyday life.
- Collaborative storytelling. While the puppetmasters controlled most of the story, they incorporated player content and responded to players' actions, analysis and speculation by adapting the narrative and intentionally left "white space" for the players to fill in.
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David WarlickAn alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions.
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Julian Ausserhofer"An alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions."
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katarina peovicgame (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions
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zpinheadAn alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions.
The form is typified by intens
Public Stiky Notes
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