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The book is divided in three parts | |
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Theory, looks at the concepts and history of pervasive gaming | |
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Design, is a practical part giving guidance for practical work with pervasive games | |
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Society, looks beyond pervasive games, discussing their cultural and societal relevance in a larger context | |
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Foreword: written by a KEY person within game research community and industry | |
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Possible contributors include Eric Zimmerman, Sean Stewart, Tracy Fullerton | |
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Introduction: Explanation why pervasive games are interesting | |
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Our position as ludologists | |
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Basic terminology | |
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Instructions on how to use the book | |
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Theory Case Study A: Killer: The Game of Assassination By Markus Montola & Jaakko Stenros | |
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Killer is an extremely simple and compelling pervasive game that has spread to countless campuses since the 60?s | |
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It is discussed as the first case example, since the simple game demonstrates pervasive gameplay in an understandable fashion | |
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Killer displays all forms of pervasivity discussed in Chapter 1, including spatial, temporal and social expansions | |
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Games and Pervasive Games: There have been many definitions for pervasive games, and many names for this style of gaming | |
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In this book we use a model based on magic circle discussed by Katie Salen and Eric Zimmerman; they discuss invasive games that penetrate the boundary of artificiality surrounding games | |
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A model of three expansions is presented for analyzin the ways spatial, temporal and social boundaries of gameplay can be blurred | |
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Pervasive games bring pleasure of game to everyday life and spice the game with unmitigated tangibility of the ordinary world | |
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Case Study B: The Beast: The boom of alternate reality gaming started from an advertising campaign promoting Spielberg?s A.I | |
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the movie, that also tried to build a larger franchise around the world portrayed in the movie | |
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The central aesthetics of the game included a ? | |
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Rabbit hole invitation? | |
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Leading unsuspecting people to participate and? | |
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This is not a game? | |
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Aesthetic meaning that the game strongly denied its ludic nature | |
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The gameplay centered around puzzle solving that was done by thousands of collaborating players | |
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Pervasive Game Genres If pervasive gaming is seen as games that blur the boundaries of game and ordinary life, it is obviously a broad category of games | |
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Subgenres of pervasive games share many properties and aesthetics, but are also unique and very different | |
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As these games are relatively new, genres are just emerging, but at least treasure hunts, alternate reality games, urban larps and assassination games seem to have become stable genres | |
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We also construct a categorization for future genres, such as the smart street sports, playful urban performances, urban adventure games and reality games | |
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Case Study C: Shelby Logan?s Run: Shelby Logan?s Run represents ?The Game? tradition of extremely ambitious treasure hunts created by hobby communities for themselves | |
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Inspired by the 1980 movie Midnight Madness, a group of Stanford students developed their own way of combining high-tech puzzles with physical challenges and a road rally | |
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In addition to quick wits and top-notch tools, the success in Shelby Logan?s Run required exploring an abandoned mine, solving a puzzle hidden inside a living rat, getting on an island with no means provided and getting a pierced at a tattoo parlor | |
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The author, Joe Belfiore, has been a central designer and player in The Game scene for its entire history | |
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Historical Influences on Pervasive Games: Roots of pervasive gaming are manifold | |
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In many ways the precursor of pervasive gaming is Killer, but other roots exist as well | |
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In terms of carnivalism and public space, pervasive games have been influenced by flash mobs, student hoaxes, street sports and campus cultures | |
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In literature and the arts, pervasive games have been inspired by variou | |