An alternate reality game (ARG) is an interactive narrative that uses the real world as a platform and uses transmedia storytelling to deliver a story that may be altered 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. Subsequently, it is shaped by 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 collaborate as 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.
ARGs are growing in popularity, with new games appearing regularly and an increasing amount of experimentation with new models and subgenres. They tend to be free to play, with costs absorbed either through supporting products (e.g. collectible puzzle cards fund Perplex City) or through promotional relationships with existing products (for example, I Love Bees was a promotion for Halo 2, and the Lost Experience and Find 815 promoted the television show Lost). However, pay-to-play models are not unheard of.
Read more about Alternate Reality Game: Defining Alternate Reality Gaming, Basic Design Principles of ARGs, Scholarly Views On ARGs, Awards Won By ARGs
Famous quotes containing the words alternate, reality and/or game:
“I alternate treading water
and deadman’s float.”
—Anne Sexton (1928–1974)
“Now, we deny not, but that politicians may sometimes abuse religion, and make it serve for the promoting of their own private interests and designs; which yet they could not do so well neither, were the thing itself a mere cheat and figment of their own, and had no reality at all in nature, nor anything solid at the bottom of it.”
—Ralph J. Cudworth (1617–1688)
“Wild Bill was indulging in his favorite pastime of a friendly game of cards in the old No. 10 saloon. For the second time in his career, he was sitting with his back to an open door. Jack McCall walked in, shot him through the back of the head, and rushed from the place, only to be captured shortly afterward. Wild Bill’s dead hand held aces and eights, and from that time on this has been known in the West as “the dead man’s hand.””
—State of South Dakota, U.S. public relief program (1935-1943)