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examples</span> </div> </a> <ul id="toc-Early_examples-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-The_Beast" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#The_Beast"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2</span> <span><i>The Beast</i></span> </div> </a> <ul id="toc-The_Beast-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Portal_(video_game_franchise)" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Portal_(video_game_franchise)"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.3</span> <span><i>Portal</i> (video game franchise)</span> </div> </a> <ul id="toc-Portal_(video_game_franchise)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Community_and_genre_growth" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Community_and_genre_growth"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.4</span> <span>Community and genre growth</span> </div> </a> <ul id="toc-Community_and_genre_growth-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Gathering_worldwide_gamers" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Gathering_worldwide_gamers"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.5</span> <span>Gathering worldwide gamers</span> </div> </a> <ul id="toc-Gathering_worldwide_gamers-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Massive-scale_commercial_games_and_mainstream_attention" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Massive-scale_commercial_games_and_mainstream_attention"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.6</span> <span>Massive-scale commercial games and mainstream attention</span> </div> </a> <ul id="toc-Massive-scale_commercial_games_and_mainstream_attention-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Rise_of_the_self-supporting_ARG" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Rise_of_the_self-supporting_ARG"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.7</span> <span>Rise of the self-supporting ARG</span> </div> </a> <ul id="toc-Rise_of_the_self-supporting_ARG-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Serious_ARG" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Serious_ARG"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.8</span> <span>Serious ARG</span> </div> </a> <ul id="toc-Serious_ARG-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-New_developments" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#New_developments"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.9</span> <span>New developments</span> </div> </a> <ul id="toc-New_developments-sublist" class="vector-toc-list"> <li id="toc-Television_tie-ins_and_"extended_experiences"" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Television_tie-ins_and_"extended_experiences""> <div class="vector-toc-text"> <span class="vector-toc-numb">3.9.1</span> <span>Television tie-ins and "extended experiences"</span> </div> </a> <ul id="toc-Television_tie-ins_and_"extended_experiences"-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Awards_won" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Awards_won"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Awards won</span> </div> </a> <ul id="toc-Awards_won-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div 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class="mw-page-title-main">Alternate reality game</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 19 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-19" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">19 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Joc_de_realitat_alternativa" title="Joc de realitat alternativa – Catalan" lang="ca" hreflang="ca" data-title="Joc de realitat alternativa" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-da mw-list-item"><a href="https://da.wikipedia.org/wiki/Alternate_reality_game" title="Alternate reality game – Danish" lang="da" hreflang="da" data-title="Alternate reality game" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Alternate_Reality_Game" title="Alternate Reality Game – German" lang="de" hreflang="de" data-title="Alternate Reality Game" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Juego_de_realidad_alternativa" title="Juego de realidad alternativa – Spanish" lang="es" hreflang="es" data-title="Juego de realidad alternativa" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%A8%D8%A7%D8%B2%DB%8C_%D9%88%D8%A7%D9%82%D8%B9%DB%8C%D8%AA_%D8%AC%D8%A7%DB%8C%DA%AF%D8%B2%DB%8C%D9%86" title="بازی واقعیت جایگزین – Persian" lang="fa" hreflang="fa" data-title="بازی واقعیت جایگزین" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Jeu_en_r%C3%A9alit%C3%A9_altern%C3%A9e" title="Jeu en réalité alternée – French" lang="fr" hreflang="fr" data-title="Jeu en réalité alternée" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EB%8C%80%EC%B2%B4_%ED%98%84%EC%8B%A4_%EA%B2%8C%EC%9E%84" title="대체 현실 게임 – Korean" lang="ko" hreflang="ko" data-title="대체 현실 게임" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Permainan_realitas_alternatif" title="Permainan realitas alternatif – Indonesian" lang="id" hreflang="id" data-title="Permainan realitas alternatif" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Alternate_reality_game" title="Alternate reality game – Italian" lang="it" hreflang="it" data-title="Alternate reality game" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%9E%D7%A9%D7%97%D7%A7_%D7%9E%D7%A6%D7%99%D7%90%D7%95%D7%AA_%D7%97%D7%9C%D7%95%D7%A4%D7%99%D7%AA" title="משחק מציאות חלופית – Hebrew" lang="he" hreflang="he" data-title="משחק מציאות חלופית" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Alternate_reality_game" title="Alternate reality game – Dutch" lang="nl" hreflang="nl" data-title="Alternate reality game" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E4%BB%A3%E6%9B%BF%E7%8F%BE%E5%AE%9F%E3%82%B2%E3%83%BC%E3%83%A0" title="代替現実ゲーム – Japanese" lang="ja" hreflang="ja" data-title="代替現実ゲーム" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Alternate_reality_game" title="Alternate reality game – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Alternate reality game" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Jogo_de_realidade_alternativa" title="Jogo de realidade alternativa – Portuguese" lang="pt" hreflang="pt" data-title="Jogo de realidade alternativa" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%98%D0%B3%D1%80%D0%B0_%D0%B2_%D0%B0%D0%BB%D1%8C%D1%82%D0%B5%D1%80%D0%BD%D0%B0%D1%82%D0%B8%D0%B2%D0%BD%D0%BE%D0%B9_%D1%80%D0%B5%D0%B0%D0%BB%D1%8C%D0%BD%D0%BE%D1%81%D1%82%D0%B8" title="Игра в альтернативной реальности – Russian" lang="ru" hreflang="ru" data-title="Игра в альтернативной реальности" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Alternativt_verklighetsspel" title="Alternativt verklighetsspel – Swedish" lang="sv" hreflang="sv" data-title="Alternativt verklighetsspel" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Alternatif_ger%C3%A7eklik_oyunu" title="Alternatif gerçeklik oyunu – Turkish" lang="tr" hreflang="tr" data-title="Alternatif gerçeklik oyunu" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%93%D1%80%D0%B0_%D0%B2_%D0%B0%D0%BB%D1%8C%D1%82%D0%B5%D1%80%D0%BD%D0%B0%D1%82%D0%B8%D0%B2%D0%BD%D1%96%D0%B9_%D1%80%D0%B5%D0%B0%D0%BB%D1%8C%D0%BD%D0%BE%D1%81%D1%82%D1%96" title="Гра в альтернативній реальності – Ukrainian" lang="uk" hreflang="uk" data-title="Гра в альтернативній реальності" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%8F%A6%E9%A1%9E%E5%AF%A6%E5%A2%83%E9%81%8A%E6%88%B2" title="另類實境遊戲 – Chinese" lang="zh" hreflang="zh" data-title="另類實境遊戲" data-language-autonym="中文" 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.sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-list-title,html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media print{body.ns-0 .mw-parser-output .sidebar{display:none!important}}</style><table class="sidebar sidebar-collapse nomobile nowraplinks"><tbody><tr><th class="sidebar-title">Art and video games</th></tr><tr><td class="sidebar-image"><span typeof="mw:File"><a href="/wiki/File:Video-Game-Controller-Icon-IDV-green-history.svg" class="mw-file-description"><img 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href="/wiki/Arthouse_game" class="mw-redirect" title="Arthouse game">Arthouse game</a></li> <li><a href="/wiki/The_Art_of_Video_Games" title="The Art of Video Games">The Art of Video Games</a> <small>(exhibition)</small></li> <li><a class="mw-selflink selflink">Alternate reality game</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="color: var(--color-base)">Artistic expression within<br />video games</div><div class="sidebar-list-content mw-collapsible-content plainlist"> <ul><li><a href="/wiki/Video_game_art" title="Video game art">Video game art</a></li> <li><a href="/wiki/Non-game" title="Non-game">Non-game</a></li> <li><a href="/wiki/Machinima" title="Machinima">Machinima</a></li> <li><a href="/wiki/Interactive_movie" class="mw-redirect" title="Interactive movie">Interactive movie</a></li></ul></div></div></td> </tr><tr><td class="sidebar-content"> <div class="sidebar-list mw-collapsible mw-collapsed"><div class="sidebar-list-title" style="color: var(--color-base)">Video game art creation</div><div class="sidebar-list-content mw-collapsible-content plainlist"> <ul><li><a href="/wiki/Game_art_design" title="Game art design">Game art design</a> (<a href="/wiki/Category:Video_game_artists" title="Category:Video game artists">artists</a>)</li> <li><a href="/wiki/Video_game_graphics" title="Video game graphics">Video game graphics</a> (<a href="/wiki/Pixel_art" title="Pixel art">pixel art</a>)</li> <li><a href="/wiki/Video_game_music" title="Video game music">Video game music</a></li> <li><a href="/wiki/Game_design#Narrative" title="Game design">Storytelling</a></li></ul></div></div></td> </tr><tr><td class="sidebar-below"> <span class="nowrap"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/e/e0/WPVG_icon_2016.svg/16px-WPVG_icon_2016.svg.png" decoding="async" width="16" height="16" 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]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Art_and_video_games" title="Template:Art and video games"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Art_and_video_games" title="Template talk:Art and video games"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Art_and_video_games" title="Special:EditPage/Template:Art and video games"><abbr title="Edit this template">e</abbr></a></li></ul></div></td></tr></tbody></table> <p>An <b>alternate reality game</b> (<b>ARG</b>) is an interactive <a href="/wiki/Networked_narrative" title="Networked narrative">networked narrative</a> that uses the real world as a platform and employs <a href="/wiki/Transmedia_storytelling" title="Transmedia storytelling">transmedia storytelling</a> to deliver a story that may be altered by players' ideas or actions. </p><p>The form is defined by intense player involvement with a story that takes place in real time and evolves according to players' responses. It is shaped by characters that are actively controlled by the game's designers, as opposed to being controlled by an <a href="/wiki/AI" class="mw-redirect" title="AI">AI</a> 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 utilize <a href="/wiki/Multimedia" title="Multimedia">multimedia</a>, such as telephones and mail, but rely on the Internet as the central binding medium. </p><p>ARGs tend to be free to play, with costs absorbed either through supporting products (e.g., collectible puzzle cards fund <a href="/wiki/Perplex_City" title="Perplex City">Perplex City</a>) or through promotional relationships with existing products (for example, <i><a href="/wiki/I_Love_Bees" title="I Love Bees">I Love Bees</a></i> was a promotion for <i><a href="/wiki/Halo_2" title="Halo 2">Halo 2</a></i>, and the <i><a href="/wiki/Lost_Experience" title="Lost Experience">Lost Experience</a></i> and <i><a href="/wiki/Find_815" title="Find 815">Find 815</a></i> promoted the television show <i><a href="/wiki/Lost_(2004_TV_series)" class="mw-redirect" title="Lost (2004 TV series)">Lost</a></i>). Pay-to-play models exist as well. Later games in the genre have shown an increasing amount of experimentation with new models and sub-genres. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Definition">Definition</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=1" title="Edit section: Definition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>There is a great deal of debate surrounding the characteristics by which the term "alternate reality game" should be defined. Sean Stacey, the founder of the website Unfiction, has suggested that the best way to define the genre was <i>not</i> to define it, and instead locate each game on three axes (ruleset, authorship and coherence) in a sphere of "chaotic fiction" that would include works such as the <a href="/wiki/Uncyclopedia" title="Uncyclopedia">Uncyclopedia</a> and street games like <a href="/wiki/SFZero" title="SFZero">SF0</a> as well.<sup id="cite_ref-Stacey_1-0" class="reference"><a href="#cite_note-Stacey-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p><p>Several experts, though, point to the use of transmedia, "the aggregate effect of multiple texts/media artifacts,"<sup id="cite_ref-Watson_2-0" class="reference"><a href="#cite_note-Watson-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> as the defining attribute of ARGs. This prompts the unique collaboration emanating from ARGs as well; <a href="/wiki/Sean_Stewart" title="Sean Stewart">Sean Stewart</a>, founder of <a href="/wiki/42_Entertainment" title="42 Entertainment">42 Entertainment</a>, which has produced various successful ARGs, speaks to how this occurs, noting that "the key thing about an ARG is the way it jumps off of all those platforms. It's a game that's social and comes at you across all the different ways that you connect to the world around you."<sup id="cite_ref-Watson_2-1" class="reference"><a href="#cite_note-Watson-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>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).<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Scholarly_views">Scholarly views</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=2" title="Edit section: Scholarly views"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Overall, academics have been intrigued by ARGs' potential for effective organizing. Across the board, a diverse range of organizations, such as businesses, nonprofits, government agencies, and schools "can learn from the best practices and lessons of ARGs to similarly take advantage of new media and collective problem–solving".<sup id="cite_ref-firstmonday_4-0" class="reference"><a href="#cite_note-firstmonday-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> As such, implementation of ARGs in these different settings involves finding best practices for honing the collaborative, transmedia elements of ARGs for these respective institutions. </p><p>Much of this scholarly interest stems from the evolving media ecology with the rise of new media. In sustaining cooperative online communities, ARGs build on "an alignment of interest, where problems are presented in a fashion that assists game designers in their goal while intriguing and aiding players in their goals".<sup id="cite_ref-firstmonday_4-1" class="reference"><a href="#cite_note-firstmonday-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> This returns to ARGs' framework of transmedia storytelling, which necessitates that ARG designers relinquish a significant degree of their power to the ARG's audience, problematizing traditional views of authorship.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>The majority of the scholarly review on ARGs analyzes their pedagogical advantages. Notably, in the classroom, ARGs can be effective tools for providing exigence on given topics and yield a <a href="/wiki/Collaborative_learning" title="Collaborative learning">collaborative</a> and <a href="/wiki/Experiential_learning" title="Experiential learning">experiential learning</a> environment.<sup id="cite_ref-Whitton_6-0" class="reference"><a href="#cite_note-Whitton-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> By the same token, weaknesses of classroom learning through ARGs include the need for a flexible narrative conducive to collaborative learning in large groups and a sophisticated web design.<sup id="cite_ref-Whitton_6-1" class="reference"><a href="#cite_note-Whitton-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>In a contribution to a volume focusing on play and cities in Springer's <i>Gaming Media and Social Effects</i> series, <a href="/wiki/Eddie_Duggan" title="Eddie Duggan">Eddie Duggan</a> (2017) provides an overview of pervasive games, and discusses characteristics in ARGs, LARPs, RPGs, assassination games and other games where the notion of the "magic circle" as elaborated by Salen and Zimmerman<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> is confounded.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Development_and_history">Development and history</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=3" title="Edit section: Development and history"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/History_of_alternate_reality_games" title="History of alternate reality games">History of alternate reality games</a></div> <div class="mw-heading mw-heading3"><h3 id="Early_examples">Early examples</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=4" title="Edit section: Early examples"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p><i><a href="/wiki/Ong%27s_Hat" title="Ong's Hat">Ong's Hat</a> / Incunabula</i> was most likely started sometime around 1993, and also included most of the aforementioned design principles. <i>Ong's Hat</i> also incorporated elements of <a href="/wiki/Legend_tripping" title="Legend tripping">legend tripping</a> into its design, as chronicled in a scholarly work titled "Legend-Tripping Online: Supernatural Folklore and the Search for Ong's Hat".<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Some scholars disagree on the classification of the <i>Ong's Hat</i> story.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p><p>In 1997, a year prior to the release of <a href="/wiki/Douglas_Adams" title="Douglas Adams">Douglas Adams</a>' computer game <i><a href="/wiki/Starship_Titanic" title="Starship Titanic">Starship Titanic</a></i>, <a href="/wiki/The_Digital_Village" class="mw-redirect" title="The Digital Village">The Digital Village</a> launched a website purporting to be that of an intergalactic travel agency called Starlight Travel, which in the game is the Starship Titanic's parent company. The site combined copious amounts of <a href="/wiki/Monty_Python" title="Monty Python">Monty Python</a>-esque writing (by <a href="/wiki/Michael_Bywater" title="Michael Bywater">Michael Bywater</a>) with <a href="/wiki/Starship_Titanic#Alternate_reality_game" title="Starship Titanic">ARG-type interactivity</a>. </p> <div class="mw-heading mw-heading3"><h3 id="The_Beast"><i>The Beast</i></h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=5" title="Edit section: The Beast"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/The_Beast_(game)" title="The Beast (game)">The Beast (game)</a></div> <p>In 2001, in order to market the movie <i><a href="/wiki/A.I._Artificial_Intelligence" title="A.I. Artificial Intelligence">A.I. Artificial Intelligence</a></i> directed by <a href="/wiki/Steven_Spielberg" title="Steven Spielberg">Steven Spielberg</a> that finished <a href="/wiki/Stanley_Kubrick" title="Stanley Kubrick">Stanley Kubrick</a>'s unfinished project to adapt <a href="/wiki/Brian_Aldiss" title="Brian Aldiss">Brian Aldiss</a>'s short story "<a href="/wiki/Supertoys_Last_All_Summer_Long" title="Supertoys Last All Summer Long">Supertoys Last All Summer Long</a>", and also a planned series of <a href="/wiki/Xbox_Game_Studios" title="Xbox Game Studios">Microsoft computer games</a> based on the film, Microsoft's Creative Director <a href="/wiki/Jordan_Weisman" title="Jordan Weisman">Jordan Weisman</a> and another Microsoft game designer, <a href="/wiki/Elan_Lee" title="Elan Lee">Elan Lee</a>, conceived of an elaborate murder mystery played out across hundreds of websites, email messages, faxes, fake ads, and voicemail messages. They hired <a href="/wiki/Sean_Stewart" title="Sean Stewart">Sean Stewart</a>, an award-winning science fiction/<a href="/wiki/Fantasy" title="Fantasy">fantasy</a> author, to write the story and <a href="/wiki/Pete_Fenlon" title="Pete Fenlon">Pete Fenlon</a>, an experienced adventure game "<a href="/wiki/Worldbuilding" title="Worldbuilding">worldbuilder</a>", to serve as developer and content lead. The game, dubbed "the Citizen Kane of online entertainment" by <a href="/wiki/Yahoo!_Internet_Life" class="mw-redirect" title="Yahoo! Internet Life">Internet Life</a>,<sup id="cite_ref-Dena1_11-0" class="reference"><a href="#cite_note-Dena1-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> was a runaway success<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> that involved over three million active participants<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> from all over the world during its run and would become the seminal example of the nascent ARG genre.<sup id="cite_ref-firstmonday_4-2" class="reference"><a href="#cite_note-firstmonday-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> An early asset list for the project contained 666 files, prompting the game's puppet-masters to dub it "<a href="/wiki/The_Beast_(game)" title="The Beast (game)">the Beast</a>", a name which was later adopted by players.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> A large and extremely active fan community called the Cloudmakers formed to analyze and participate in solving the game,<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> and the combined intellect, tenacity and engagement of the group soon forced the puppet-masters to create new subplots, devise new puzzles, and alter elements of the design to keep ahead of the player base.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Somewhat unusual for a computer-based game, the production drew players from a wide spectrum of age groups and backgrounds. </p><p>Although the Beast ran for only three months, it prompted the formation of a highly organized and intensely engaged community that remained active<sup id="cite_ref-Cloudmakers_17-0" class="reference"><a href="#cite_note-Cloudmakers-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> years after the game concluded. Perhaps more significantly, it inspired a number of its participants to create games adapting and expanding the model, extending it from an anomalous one-time occurrence to a new genre of entertainment and allowing the community to grow even after the Beast itself concluded. Members of the Cloudmakers group went on to form ARGN, the primary news source for the genre, and Unfiction, its central community hub, as well as designing the first successful and widely played indie ARGs, such as LockJaw and Metacortechs, and corporate efforts such as Perplex City. </p> <div class="mw-heading mw-heading3"><h3 id="Portal_(video_game_franchise)"><span id="Portal_.28video_game_franchise.29"></span><i>Portal</i> (video game franchise)</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=6" title="Edit section: Portal (video game franchise)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>On March 1 and March 3 of 2010, <a href="/wiki/Portal_(video_game)" title="Portal (video game)">Portal</a> was updated to include a promotional ARG for its then-upcoming sequel, <a href="/wiki/Portal_2" title="Portal 2">Portal 2</a>. It was created by the <i>Portal 2</i> development team, and while it was mostly made to discover the next entry in the <i>Portal</i> franchise, it also included a way to extend the <i>Portal</i> universe. <i>Portal</i> was updated at 2:33 PST, with the update's description reading "Changed radio transmission frequency to comply with federal and state spectrum management regulations".<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> The update also added a single achievement, named "Transmission Received". The update added 26 portable radios placed throughout the game's levels, which played a default song until placed in a specific location in their respective maps. When placed in their location, the radio's lights changed from red to green, and they began to emit a string of <a href="/wiki/Morse_code" title="Morse code">Morse code</a>, which revealed hidden images when decoded<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> with <a href="/wiki/Slow-scan_television" title="Slow-scan television">Robot 36</a>. The numbers from the images form the <a href="/wiki/Bulletin_board_system" title="Bulletin board system">BBS</a> phone number "(425) 822-5251"<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> and when you dial into the BBS it will prompt the user asking for a login. Entering the username "backup" and the password "backup" (from the 12th audio file) will show text saying "Aperture Laboratories GLaDOS v3.11", followed by "Copyright (c) 1973–1997 Aperture – All Rights Reserved" then will proceed to show the user <a href="/wiki/ASCII_art" title="ASCII art">ASCII art</a> images and paragraphs quoting <a href="/wiki/Cave_Johnson_(Portal)" title="Cave Johnson (Portal)">Cave Johnson</a>. If the person is idle for 4 minutes, the following text will say "Hey! Please login now. You have one minute left." and if left idle for one more minute the next text will say "Your login time (5 minutes) ran out. Goodbye", disconnecting the user. </p><p><i>Portal</i> was updated again on March 3, 2010, at 2:24 PST with the description "Added valuable asset retrieval",<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> The game ending was <a href="/wiki/Retcon" class="mw-redirect" title="Retcon">retconned</a> to add the Party Escort bot, who dragged the player back into the enrichment center rather than allowing them to escape.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> setting up the events of <i>Portal 2</i>. </p> <div class="mw-heading mw-heading3"><h3 id="Community_and_genre_growth">Community and genre growth</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=7" title="Edit section: Community and genre growth"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Influenced heavily by the Beast and enthusiastic about the power of collaboration, several <a href="/wiki/Cloudmakers" class="mw-redirect" title="Cloudmakers">Cloudmakers</a> came together with the idea that they could create a similar game. The first effort to make an independent Beast-like game, <i>Ravenwatchers</i>, failed,<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> but another team soon assembled and met with greater success. With very little experience behind them, the group managed, after nine months of development, to create a viable game that was soon seized upon eagerly by the Cloudmakers group and featured in <i><a href="/wiki/Wired_(magazine)" title="Wired (magazine)">Wired</a></i> magazine.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Gathering_worldwide_gamers">Gathering worldwide gamers</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=8" title="Edit section: Gathering worldwide gamers"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Because of their similarities, video games and ARGs continued to be associated through many projects, In 2009, <a href="/wiki/Funcom" title="Funcom">Funcom</a>, a game development studio from <a href="/wiki/Oslo" title="Oslo">Oslo</a>, Norway, hid a gate on its corporate website, which led to an ARG which would be part of the pre-launch campaign for <i><a href="/wiki/The_Secret_World" title="The Secret World">The Secret World</a></i>, a game released in 2013. The gate was discovered only in 2013, therefore requiring the puppet-master to adapt the scenario to its actual setting.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p><p>Funcom has done a total of 16 ARGs that tie in with <i>The Secret World</i>, with the first one starting in May 2007. The ARGs focussed on several different storylines, such as: The Expedition of Roald Amundsen, The Sanctuary of Secrets and the Secret War. </p><p>The company behind Funcom's last 2 ARGs, Human Equation, a Montreal-based entertainment studio who also created an independent ARG called <i>Qadhos</i>, has even further purchased the rights to a special class of characters, The Black Watchmen, to create their own independent ARG. A spin-off of Human Equation, <a href="/wiki/Alice_%26_Smith" title="Alice & Smith">Alice & Smith</a>, released the game in June 2015. </p> <div class="mw-heading mw-heading3"><h3 id="Massive-scale_commercial_games_and_mainstream_attention">Massive-scale commercial games and mainstream attention</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=9" title="Edit section: Massive-scale commercial games and mainstream attention"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>After the success of the first major entries in the nascent ARG genre, a number of large corporations looked to ARGs to both promote their products, and to enhance their companies' images by demonstrating their interest in innovative and fan-friendly marketing methods. To create buzz for the launch of the Xbox game <i>Halo 2</i>,<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> Microsoft hired the team that had created the Beast, now operating independently as <a href="/wiki/42_Entertainment" title="42 Entertainment">42 Entertainment</a>. The result, <i><a href="/wiki/I_Love_Bees" title="I Love Bees">I Love Bees</a></i>, departed radically from the website-hunting and puzzle-solving that had been the focus of the Beast. <i>I Love Bees</i> wove together an interactive narrative set in 2004, and a <i>War of the Worlds</i>-style radio drama set in the future, the latter of which was broken into 30–60-second segments and broadcast over ringing payphones worldwide.<sup id="cite_ref-ILB_27-0" class="reference"><a href="#cite_note-ILB-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> The game pushed players outdoors to answer phones, create and submit content, and recruit others, and received as much or a more mainstream notice than its predecessor, finding its way onto television during a presidential debate,<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> and becoming one of <i>The New York Times</i><span class="nowrap" style="padding-left:0.1em;">'</span> catchphrases of 2004.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p><p>As such, <i><a href="/wiki/I_Love_Bees" title="I Love Bees">I Love Bees</a></i> captivated enough fans to garner significant press attention, and partly because of this publicity, <i>Halo 2</i> "sold $125 million in copies the first day of release."<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> A slew of imitators<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> fan tributes<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> and parodies<sup id="cite_ref-Ilovebeer_34-0" class="reference"><a href="#cite_note-Ilovebeer-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Welovebeef_35-0" class="reference"><a href="#cite_note-Welovebeef-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> followed. In 2005, a pair of articles profiling 42 Entertainment appeared in <i><a href="/wiki/Game_Developer_(magazine)" title="Game Developer (magazine)">Game Developer</a></i> magazine and the <a href="/wiki/East_Bay_Express" title="East Bay Express">East Bay Express</a>, both of which tied into an ARG<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> created by the journalist and his editors.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p><p>The following spring, Audi launched <i><a href="/wiki/The_Art_of_the_Heist" title="The Art of the Heist">The Art of the Heist</a></i>, developed by Audi ad agency McKinney+Silver, Haxan Films (creators of <i><a href="/wiki/The_Blair_Witch_Project" title="The Blair Witch Project">The Blair Witch Project</a></i>), to promote its new A3. </p><p>Roughly a year after <i>I Love Bees</i>, 42 Entertainment produced <i>Last Call Poker,</i> a promotion for Activision's video game <i>Gun</i>. Designed to help modern audiences connect with the Western genre, <i>Last Call Poker</i> centered on a working poker site, held games of "Tombstone Hold 'Em" in cemeteries around the United States—as well as in at least one digital venue, <i><a href="/wiki/World_of_Warcraft" title="World of Warcraft">World of Warcraft</a></i><span class="nowrap" style="padding-left:0.1em;">'</span>s own virtual reality cemetery<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> – and sent players to their own local cemeteries to clean up neglected grave sites and perform other tasks.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p><p>At the end of 2005, the International Game Developers Association ARG Special Interest Group was formed "to bring together those already designing, building, and running ARGs, in order to share knowledge, experience, and ideas for the future." More recently, an ARG was created by <a href="/wiki/THQ" title="THQ">THQ</a> for the game <i><a href="/wiki/Frontlines:_Fuel_of_War" title="Frontlines: Fuel of War">Frontlines: Fuel of War</a></i> around peak oil theories where the world is in a crisis over diminishing oil resources. </p><p>In 2008, the <a href="/wiki/American_Art_Museum" class="mw-redirect" title="American Art Museum">American Art Museum</a> hosted an alternate reality game, called <i>Ghosts of a Chance</i>, which was created by City Mystery.<sup id="cite_ref-Luce_Center_40-0" class="reference"><a href="#cite_note-Luce_Center-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> The game allowed patrons "a new way of engaging with the collection" in the Luce Foundation Center.<sup id="cite_ref-Luce_Center_40-1" class="reference"><a href="#cite_note-Luce_Center-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> The game ran for six weeks and attracted more than 6,000 participants.<sup id="cite_ref-Luce_Center_40-2" class="reference"><a href="#cite_note-Luce_Center-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Rise_of_the_self-supporting_ARG">Rise of the self-supporting ARG</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=10" title="Edit section: Rise of the self-supporting ARG"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The first major attempt (other than EA's failed <i><a href="/wiki/Majestic_(video_game)" title="Majestic (video game)">Majestic</a></i>) to create a self-supporting ARG was <i><a href="/wiki/Perplex_City" title="Perplex City">Perplex City</a></i>, which launched in 2005 after a year's worth of teasers. The ARG offered a $200,000 prize to the first player to locate the buried Receda Cube and was funded by the sale of puzzle cards. The first season of the game ended in January 2007, when Andy Darley found the Receda Cube at Wakerly Great Wood in Northamptonshire, UK. Mind Candy, the production company, has also produced a board game related to the ARG and plans to continue it with a second season beginning 1 March 2007. This model was delayed till 1 June, and has again, been delayed to an unspecified date. Mind Candy's acceptance of corporate sponsorship and venture capital suggests that the puzzle cards alone are not enough to fully fund the ARG at this time. </p><p>In June 2006, Catching the Wish launched from an in-game website about comic books based on its predecessor, 2003's <i>Chasing the Wish</i>. 42 Entertainment released <i><a href="/wiki/Cathy%27s_book" class="mw-redirect" title="Cathy's book">Cathy's Book</a></i>, by <a href="/wiki/Sean_Stewart" title="Sean Stewart">Sean Stewart</a> and <a href="/wiki/Jordan_Weisman" title="Jordan Weisman">Jordan Weisman</a>, in October 2006, shifting the central medium of this ARG from the internet to the printed page. The young-adult novel contains an "evidence packet" and expands its universe through websites and working phone numbers, but is also a stand-alone novel that essentially functions as an individually playable ARG. Neither the cost of creating the book nor sales figures are available (although it made both American<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> and British bestseller lists) to determine whether the project was successfully self-funded. </p> <div class="mw-heading mw-heading3"><h3 id="Serious_ARG">Serious ARG</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=11" title="Edit section: Serious ARG"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In a 2007 article, columnist Chris Dahlen (of Pitchfork Media) voiced a much-discussed ARG concept: if ARGs can spark players to solve very hard fictional problems, could the games be used to solve real-world problems?<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> Dahlen was writing about <i><a href="/wiki/World_Without_Oil" title="World Without Oil">World Without Oil</a></i>, the first ARG centered on a serious near-future scenario: a global oil shortage.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> </p><p>In October 2008 The <a href="/wiki/British_Red_Cross" title="British Red Cross">British Red Cross</a> created a serious ARG called Traces of Hope to promote their campaign about civilians caught up in conflict.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p><p>The <a href="/wiki/USC_School_of_Cinematic_Arts" title="USC School of Cinematic Arts">USC School of Cinematic Arts</a> has run a semester-long ARG called <a href="/wiki/Reality_Ends_Here" title="Reality Ends Here">Reality Ends Here</a> for incoming freshmen since 2011. The game involves players collaborating and competing to produce media artifacts. In 2012, Reality Ends Here won the Impact Award at <a href="/wiki/IndieCade" title="IndieCade">IndieCade</a>, presented to games which "have social message, shift the cultural perception of games as a medium, represent a new play paradigm, expand the audience, or influence culture."<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> </p><p>The Plan of Gauss was a game developed as a didactic strategy to enhance the learning and understanding of mathematics in university students. In this game, the players had to help characters (students) to find a missing friend.<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="New_developments">New developments</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=12" title="Edit section: New developments"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In February 2007, Microsoft published the game <i>Vanishing Point</i> to promote the launch of <a href="/wiki/Windows_Vista" title="Windows Vista">Windows Vista</a>. The game was designed by 42 Entertainment and, due in part to many large-scale real-world events, such as a lavish show at the <a href="/wiki/Bellagio_(hotel_and_casino)#Fountains" class="mw-redirect" title="Bellagio (hotel and casino)">Bellagio Fountain</a> in Las Vegas as well as a prizes of a trip into space<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> and having a winner's name engraved on all AMD Athlon 64 FX chips for a certain period of time,<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> received large media attention.<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p><p>A few days later, another ARG by 42 Entertainment was released, for the release of the <a href="/wiki/Nine_Inch_Nails" title="Nine Inch Nails">Nine Inch Nails</a> album <i><a href="/wiki/Year_Zero_(album)" title="Year Zero (album)">Year Zero</a></i>. In that ARG, fans discovered leaked songs on <a href="/wiki/Thumb_drive" class="mw-redirect" title="Thumb drive">thumb drives</a> in washrooms at concerts,<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> as well as clues to <a href="/wiki/Year_Zero_(game)" title="Year Zero (game)">websites</a> that describe a dystopian future occurring in 2022.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Perplex_City" title="Perplex City">Perplex City</a> concluded its first season by awarding a $200,000 prize to a player who found the game's missing cube.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> They planned to continue the ARG into a second "season" under the name <a href="/wiki/Perplex_City_Stories" class="mw-redirect" title="Perplex City Stories">Perplex City Stories</a> without a large grand prize, but it was ultimately cancelled.<sup id="cite_ref-PXC2_prize_53-0" class="reference"><a href="#cite_note-PXC2_prize-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p><p>In May 2007, 42 Entertainment launched <i><a href="/wiki/The_Dark_Knight#Marketing" title="The Dark Knight">Why So Serious</a></i>, an ARG to promote the feature film <i><a href="/wiki/The_Dark_Knight" title="The Dark Knight">The Dark Knight</a></i>. It played out over 15 months, concluding in July 2008. Millions of players in 177 countries participated both online and taking part in live events, and it reached hundreds of millions through Internet buzz and exposure.<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> Notably, <i>Why So Serious</i> prompted a great deal of collaborative organizing and action; players went to the streets campaigning for Harvey Dent and gathered in New York City as a part of gameplay.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> </p><p>In March 2008, McDonald's and the IOC launched <i><a href="/wiki/The_Lost_Ring" title="The Lost Ring">Find The Lost Ring</a></i>, a global ARG promoting the <a href="/wiki/2008_Summer_Olympics" title="2008 Summer Olympics">2008 Summer Olympics</a> in Beijing, China. The game was run simultaneously in six languages with new story lines developing in each, encouraging players to communicate with residents of other countries to facilitate sharing of clues and details of the game as a whole. American track and field athlete <a href="/wiki/Edwin_Moses" title="Edwin Moses">Edwin Moses</a> acted as a celebrity Game Master, and McDonald's Corporation promised to donate US$100,000 to <a href="/wiki/Ronald_McDonald_House_Charities" title="Ronald McDonald House Charities">Ronald McDonald House Charities</a> China on behalf of the players. </p><p>On 1 March 2010, <i><a href="/wiki/Valve_Corporation" title="Valve Corporation">Valve</a></i> released an update via <i><a href="/wiki/Steam_(service)" title="Steam (service)">Steam</a></i> to their game <i><a href="/wiki/Portal_(video_game)" title="Portal (video game)">Portal</a></i>, adding a nondescript new achievement and some .wav files hidden within the game GCFs. The .wav files actually contained <a href="/wiki/Morse_code" title="Morse code">morse code</a> and <a href="/wiki/Slow-scan_television" title="Slow-scan television">SSTV</a> encoded images, some including certain numbers and letters. When pieced together in the correct order, these numbers and letters formed a 32-bit <a href="/wiki/MD5" title="MD5">MD5</a> hash of a <a href="/wiki/Bulletin_board_system" title="Bulletin board system">BBS</a> phone number. When traced, it was found to originate from <a href="/wiki/Kirkland,_Washington" title="Kirkland, Washington">Kirkland, Washington</a>, where Valve was based before moving to <a href="/wiki/Bellevue,_Washington" title="Bellevue, Washington">Bellevue, Washington</a> in 2003. Accessing the number as a bulletin board system yielded large <a href="/wiki/ASCII_art" title="ASCII art">ASCII art</a> images, all leading towards the announcement of the game's sequel, <i><a href="/wiki/Portal_2" title="Portal 2">Portal 2</a></i>.<sup id="cite_ref-potato_sack_56-0" class="reference"><a href="#cite_note-potato_sack-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> Later, prior to release of <i>Portal 2</i> in 2011, a much more expansive ARG called the <i><a href="/wiki/Potato_Sack" title="Potato Sack">Potato Sack</a></i> was run, arranged by a number of independent developers working with Valve, to simulate the re-booting of <a href="/wiki/GLaDOS" title="GLaDOS">GLaDOS</a>. The ARG resulted in the game being released several hours earlier than scheduled, among other details.<sup id="cite_ref-potato_sack_56-1" class="reference"><a href="#cite_note-potato_sack-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> </p><p>Also launched in March 2010, an ARG produced by David Varela at <a href="/wiki/NDreams" title="NDreams">nDreams</a> featured the 2008 Formula 1 World Champion <a href="/wiki/Lewis_Hamilton" title="Lewis Hamilton">Lewis Hamilton</a>; entitled <i>Lewis Hamilton: Secret Life</i>, the game ran throughout the 2010 Formula 1 season, in nine languages, with live events in a dozen cities around the world.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> </p><p>In July 2013, Walt Disney Imagineering Research & Development and The Walt Disney Studios launched <a href="/wiki/The_Optimist_(alternate_reality_game)" title="The Optimist (alternate reality game)">The Optimist</a>, built around "a story of Walt Disney, the Imagineers, and other visionary thinkers and their potential involvement in a secret project that sought to build a better future." The game culminated at the D23 Expo in Anaheim, Calif., August 9–11, 2013. Players participated over a six-week period, using social media, mobile devices, and apps, while visiting locations from the story in and around Los Angeles.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup> </p><p>An ARG accompanying the Kickstarter campaign for <i><a href="/wiki/Frog_Fractions_2" title="Frog Fractions 2">Frog Fractions 2</a></i> began in March 2014 and completed in 2016. <i>Frog Fractions 2</i> will be the sequel to Twinbeard Studio's much acclaimed <i><a href="/wiki/Frog_Fractions" title="Frog Fractions">Frog Fractions</a></i>, although the ARG itself is often referred to as <i>Frog Fractions 1.5</i> in reference to an in-ARG puzzle solution. The ARG took about two years to solve, involving clues buried in 23 independent games and real-life locations, allowing the game, secretly already uploaded under the guise of a different game, to become unlocked in December 2016.<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> </p><p>On the release of the expansion <i>Afterbirth</i> for <i><a href="/wiki/The_Binding_of_Isaac:_Rebirth" title="The Binding of Isaac: Rebirth">The Binding of Isaac: Rebirth</a></i> in October 2015, players discover clues hinting towards an ARG related to the game, based on the community's previous attempts to hack the game to discover any secret characters. The ARG included location information near Santa Cruz, California, where the game's developer <a href="/wiki/Edmund_McMillen" title="Edmund McMillen">Edmund McMillen</a> lived. The ARG was successfully completed in November 2015, with the community working together and enabling a new character and additional content to be unlocked for the game.<sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> </p><p><i><a href="/wiki/Inscryption" title="Inscryption">Inscryption</a></i>, a video game by Daniel Mullins based on a <a href="/wiki/Metafiction" title="Metafiction">metafiction</a> narrative, including a post-game ARG that involved real-world clues and references to Mullins' past games in conjunction with in-game materials, leading to additional narrative and endings for the game.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> </p><p>In December 2020, a long-unsolved puzzle from <a href="/wiki/Perplex_City" title="Perplex City">Perplex City</a>, <i>Billion to One</i>, was solved. The puzzle focused on exploring the concept of <a href="/wiki/Six_degrees_of_separation" title="Six degrees of separation">Six degrees of separation</a> by presenting a man's photograph and his first name, "Satoshi", asking players to locate him. In 2020, Tom-Lucas Säger used image recognition software and located Satoshi, reporting it to <a href="/wiki/Laura_E._Hall" title="Laura E. Hall">Laura E. Hall</a>, who ran the website tracking information about the hunt.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Television_tie-ins_and_"extended_experiences""><span id="Television_tie-ins_and_.22extended_experiences.22"></span>Television tie-ins and "extended experiences"</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=13" title="Edit section: Television tie-ins and "extended experiences""><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 2006, the TV tie-in ARG began to come into its own when there was a surge of ARGs that extended the worlds of related television shows onto the Internet and into the real world. As with <i><a href="/wiki/Push,_Nevada" title="Push, Nevada">Push, Nevada</a></i>, ABC led the way, launching three TV tie-in ARGs in 2006: <i><a href="/wiki/Kyle_XY" title="Kyle XY">Kyle XY</a></i>,<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> Ocular Effect (for the show <i>Fallen</i>)<sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> and The Lost Experience (for the show <i><a href="/wiki/Lost_(2004_TV_series)" class="mw-redirect" title="Lost (2004 TV series)">Lost</a></i>).<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> <a href="/wiki/American_Broadcasting_Company" title="American Broadcasting Company">ABC</a> joined with <a href="/wiki/Channel_4" title="Channel 4">Channel 4</a> in the UK and Australia's <a href="/wiki/Seven_Network" title="Seven Network">Channel 7</a> in promoting a revamped website for <a href="/wiki/Hanso_Foundation" class="mw-redirect" title="Hanso Foundation">The Hanso Foundation</a>. The site was focused on a fictitious company prevalent in the storyline of the TV series, and the game was promoted through television advertisements run during <i>Lost</i> episodes. The Fallen Alternate Reality Game was launched in tandem with the <i>Fallen</i> TV movie for ABC Family and was originally conceived by <a href="/wiki/Matt_Wolf_(video_game_designer)" title="Matt Wolf (video game designer)">Matt Wolf</a> and created by Matt Wolf (Double Twenty Productions) in association with Xenophile Media. Wolf accepted the Emmy for The Fallen Alternate Reality Game at the 59th Annual Primetime Creative Arts Emmy Awards on September 8, 2007. </p><p>In January 2008, BBC launched "Whack the Mole"<sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> for the CBBC show <i><a href="/wiki/M.I._High" title="M.I. High">M.I. High</a></i>, in which viewers are asked to become M.I. High field agents and complete tasks to capture a mole that has infiltrated the organization. </p><p>On 16 March 2011, <a href="/wiki/BitTorrent_(company)" class="mw-redirect" title="BitTorrent (company)">BitTorrent</a> promoted an open licensed version of the feature film <i><a href="/wiki/Zenith_(film)" title="Zenith (film)">Zenith</a></i> in the United States. Users who downloaded the BitTorrent client software were also encouraged to download and share Part One of three parts of the film. On 4 May 2011, Part Two of the film was made available on <a href="/wiki/VODO" title="VODO">VODO</a>. The episodic release of the film, supplemented by an ARG transmedia marketing campaign, created a viral effect and over a million users downloaded the movie.<sup id="cite_ref-69" class="reference"><a href="#cite_note-69"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup> </p><p>That same year, <i><a href="/wiki/Gravity_Falls" title="Gravity Falls">Gravity Falls</a></i> creator <a href="/wiki/Alex_Hirsch" title="Alex Hirsch">Alex Hirsch</a> conducted an ARG called <i><a href="/wiki/Cipher_Hunt" title="Cipher Hunt">Cipher Hunt</a></i>. Hirsch started the game with the posting of an initial clue on his Twitter account, followed by the rules.<sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-74" class="reference"><a href="#cite_note-74"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup> It lasted from July to August 2016, and its goal was to find the clues hidden in various places around the world leading to the location of a statue of <a href="/wiki/List_of_Gravity_Falls_characters" title="List of Gravity Falls characters">Bill Cipher</a>. Said statue could be seen briefly after the ending credits of the <a href="/wiki/Weirdmageddon_3:_Take_Back_The_Falls" class="mw-redirect" title="Weirdmageddon 3: Take Back The Falls">series finale</a>. </p> <div class="mw-heading mw-heading2"><h2 id="Awards_won">Awards won</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=14" title="Edit section: Awards won"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>ARGs have been recognized by the mainstream entertainment world: The Ocular Effect, an ARG promoting the TV movie <i>The Fallen</i> and produced in the autumn of 2007 by Xenophile Media Inc.<sup id="cite_ref-75" class="reference"><a href="#cite_note-75"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup> was awarded a Primetime Emmy for Outstanding Achievement for an Interactive Television Program.<sup id="cite_ref-76" class="reference"><a href="#cite_note-76"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup> Xenophile Media Inc.'s ReGenesis Extended Reality Game won an International Interactive Emmy Award in 2007 and in April 2008 <a href="/wiki/The_Truth_About_Marika" title="The Truth About Marika">The Truth About Marika</a> won the iEmmy for Best Interactive TV service.<sup id="cite_ref-77" class="reference"><a href="#cite_note-77"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup> The British Academy of Film and Television Arts recognizes Interactivity as a category in the British Academy Television Awards. </p><p>Likewise, <a href="/wiki/Year_Zero_(game)" title="Year Zero (game)">Year Zero</a> was widely heralded following its release. Such acclaim is signified in the ARG's Grand Prix Cyber Lions award, viewed as "the most prestigious of all advertising awards," at Cannes.<sup id="cite_ref-78" class="reference"><a href="#cite_note-78"><span class="cite-bracket">[</span>78<span class="cite-bracket">]</span></a></sup> Adweek published a quote from the selection committee on the award decision, explaining that "42 Entertainment's [viral campaign for Nine Inch Nails] impressed the jury because of its use of a variety of media, from outdoor to guerrilla to online, and how digital [media] can play a central role of a big idea campaign."<sup id="cite_ref-79" class="reference"><a href="#cite_note-79"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup> </p><p>In turn, <a href="/wiki/Why_So_Serious#Marketing" class="mw-redirect" title="Why So Serious">Why So Serious</a> also won a Grand Prix Award,<sup id="cite_ref-80" class="reference"><a href="#cite_note-80"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> alongside a Webby for interactive advertising.<sup id="cite_ref-81" class="reference"><a href="#cite_note-81"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup> World Without Oil was recognized for its achievements, too, earning the Activism award at the 2008 SXSW Web Awards.<sup id="cite_ref-82" class="reference"><a href="#cite_note-82"><span class="cite-bracket">[</span>82<span class="cite-bracket">]</span></a></sup> </p><p>Project Architeuthis, created for the U.S. Navy as a recruiting device for its cryptology division, won numerous awards, including the 2015 Warc Grand Prix for Social Strategy.<sup id="cite_ref-83" class="reference"><a href="#cite_note-83"><span class="cite-bracket">[</span>83<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=15" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/List_of_alternate_reality_games" title="List of alternate reality games">List of alternate reality games</a></li> <li><a href="/wiki/History_of_alternate_reality_games" title="History of alternate reality games">History of alternate reality games</a></li> <li><a href="/wiki/Ergodic_literature" title="Ergodic literature">Ergodic literature</a></li> <li><a href="/wiki/Hyperreality" title="Hyperreality">Hyperreality</a></li> <li><a href="/wiki/Legend_tripping" title="Legend tripping">Legend tripping</a></li> <li><a href="/wiki/Live-action_game" title="Live-action game">Live-action game</a></li> <li><a href="/wiki/Live-action_virtual_reality_game" class="mw-redirect" title="Live-action virtual reality game">Live-action virtual reality game</a></li> <li><a href="/wiki/Metaverse" title="Metaverse">Metaverse</a></li> <li><a href="/wiki/Mixed_reality_game" title="Mixed reality game">Mixed reality game</a></li> <li><a href="/wiki/Pervasive_game" title="Pervasive game">Pervasive game</a></li> <li><a href="/wiki/Transmedia_storytelling" title="Transmedia storytelling">Transmedia storytelling</a></li> <li><a href="/wiki/Transreality_gaming" class="mw-redirect" title="Transreality gaming">Transreality gaming</a></li> <li><a href="/wiki/Verisimilitude" title="Verisimilitude">Verisimilitude</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=16" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-Stacey-1"><span 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Retrieved <span class="nowrap">August 16,</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Campbell+Ewald&rft.atitle=Campbell+Ewald+Wins+Warc+Grand+Prix+for+Social+Strategy&rft.date=2015-06-15&rft_id=http%3A%2F%2Fwww.c-e.com%2Fnews%2Fcampbell-ewald-wins-warc-grand-prix-for-social-strategy%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AAlternate+reality+game" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Alternate_reality_game&action=edit&section=17" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="http://www.argology.org/">ARGology</a> – International Game Developers Association Alternate Reality Game Special Interest Group</li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20180117131200/https://lateralrealities.com/">Lateral Realities</a> – Lateral Realities</li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output 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