This is Not a Game: A Guide to Alternate Reality Gaming by Dave Szulborski, Joseph Matheny PDF

By Dave Szulborski, Joseph Matheny

Think a global of puzzle and pleasure, event and myth, awaiting you to discover. a global that reacts in your each circulation, with characters that speak to you, ship you messages, or even provide you with goods that will help you on your quest. an international so immersive so you might not inform the place fact ends and fiction starts. Welcome to the realm of exchange fact Gaming. this isn't A video game: A advisor to trade fact Gaming by way of Dave Szulborski is definitely the right advent to this fascinating new international.

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Extra resources for This is Not a Game: A Guide to Alternate Reality Gaming

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And you wouldn’t be too far wrong. : Artificial Intelligence noticed a curious listing in the movie’s credits that seemed strangely out of place amidst the listings for Best Boy, Stunt Man, and the other familiar positions required to make a feature film. ” Many people who saw it passed it off as a playful inside joke, a tongue-in-cheek nod at the artificial intelligence themes of the movie itself, until some other small and intriguing clues were also discovered. ” Googling the name “Jeanine Salla” led to a series of intricately detailed and highly realistic websites and eventually led thousands of people to get involved, trying to figure out who killed the fictional character Evan Chan.

He goes on to explain his assertion, “Now to say that I Love Bees is not a game is to say that the Beast is not a game. As for the rationale that it is not a game because there is no rule system to enjoy falls short based on our definitions because the activity takes place in a digital environment where rule systems are omnipresent . . S. ” I would take exception to both of these arguments, starting with Brown’s declaration that both I Love Bees and the Beast (and other alternate reality games by implication) have “omnipresent rules” just because they are presented in a digital environment.

He writes, “It should be self-evident that we can’t apply print narratology, hypertext theory, film or theater and drama studies directly to computer games, but it isn’t . . ” Eskelinen follows this backhanded slap at the narratologists with several reasons why, despite some games admittedly having narrative elements such as characters and plot, they are fundamentally different from true narrative forms. His argument proceeds through three basic points of contention involving how the elements of narrative actually function in a game as opposed to a story, the relationship of the player to the game versus the reader to the narrative, and how time is treated differently in games and narratives.

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