Pervasive games, theory and design

 Morgan Kaufmann Publishers is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA This book is printed on acid-free paper © 2009 by Elsevier Inc All rights reserved Designations used by companies to distinguish their products are often claimed as   trademarks or registered trademarks In all instances in which Morgan Kaufmann   Publishers is aware of a claim, the product names appear in initial capital or all   capital letters All trademarks that appear or are otherwise referred to in this work   belong to their respective owners Neither Morgan Kaufmann Publishers nor the   authors and other contributors of this work have any relationship or affiliation with   such trademark owners nor such trademark owners confirm, endorse or approve   the contents of this work Readers, however, should contact the appropriate   companies for more information regarding trademarks and any related registrations No part of this publication may be reproduced, stored in a retrieval system, or   transmitted in any form or by any means—electronic, mechanical, photocopying,   scanning, or otherwise—without prior written permission of the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights   Department in Oxford, UK: phone: (44) 1865 843830, fax: (44) 1865 853333,   E-mail: permissions@elsevier.com You may also complete your request online   via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact”   then “Copyright and Permission” and then “Obtaining Permissions.” Library of Congress Cataloging-in-Publication Data British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN: 978-0-12-374853-9 For information on all Morgan Kaufmann publications, visit our Web site at www.mkp.com or www.elsevierdirect.com Printed in the United States of America 09 10 11 12   Foreword Sean Stewart Fall 2000 Jordan Weisman and Elan Lee were talking about a new kind of game, one that couldn’t be confined inside a video-game console Jordan’s phone rang, as it does constantly, but this time both men stared at it, and then Jordan said: “Wouldn’t it be cool if that was the game calling?” *** From the classic college campus assassination game Killer and the simple short message service-based BotFighters, which allow players to fight one another as they move through their regular lives, to intensely immersive theater pieces like Momentum, in which players were possessed by the spirits of dead revolutionaries around the clock for 36 consecutive days, pervasive games are entertainments that leap off the board, console, or screen and into your real life The authors of this book have created the definitive history of the genre, as well as a compendium of case studies, design directions, and moral questions for the next generation of people interested in the intoxicating mixture of game and real life *** I was introduced to the concept of The Game That Would Call You in January of 2001 when I was hired as a lead writer to work with a giant project for Steven Spielberg’s upcoming movie A.I.: Artificial Intelligence Jordan’s plan was to build the whole world of A.I online and then let the audience walk into it, like Alice falling down the rabbit hole into Wonderland The game world would be vast and elaborate Hundreds of linked Web pages would form the skeleton: personal blogs, avant-garde art hangouts, the entire online catalog of a manufacturer of geisha robots, political action groups, government agencies, and not one but two complete universities with dozens of departments The first time we wrote a list of all the things we would need to bring this world to life, it was 666 items long; that’s where the project earned the nickname The Beast Along with Electronic Arts’ Majestic, The Beast would spawn an entire subgenre of pervasive games called alternate reality games (ARGs) These are interactive stories in which you, in the audience, are also a crucial character, and your decisions drive the narrative We had a few basic design principles: Come into the players’ lives in every way possible We hosted Web sites for you to browse, sent emails to your inbox, and arranged for faxes to be sent to your office “by mistake.” We got a gravel-voiced Microsoft employee to record a menacing message from a robot revolutionary and then called players on their phones, which was electrifying, xiii foreword particularly at the home where a player’s grandmother answered the call (Then we had a polite conversation with the police, but that’s another story.) We even held live events where, for the duration of the meeting, you were a citizen of 2142, talking to actors playing the part of other people in that time Make it interactive Let players affect the world Of course, when you have a story you want to tell, this is difficult, but we evolved many different strategies for letting players touch the world The basic rhythm of the game was “players solve a puzzle to get the next piece of the story.” For instance, players might find a password-protected secret diary, so they would need to figure out the password to get the next piece of information We encouraged player-generated content by having Metropolitan Living Homes magazine host a competition for designing the best sentient home We introduced Loki, a rogue AI who fed on nightmares We knew he could be killed if he went to a certain Web site, but we let the players design a plan for luring him there Dozens of them compiled a list of their own most terrifying nightmares and used it as “bait.” Within hours of them posting that information, we had written and recorded a flash movie of Loki’s death soliloquy stitched together from pieces of their dreams, so the players, shocked, heard a game character speaking words they had written only days before The larger political narrative that ran through the game was about a referendum on whether AIs should remain slaves or be granted citizenship We filmed two alternate endings to the game and let the players’ real, unmanipulated vote decide the issue Embrace community The nature of the Internet is that as soon as one person knows something, everybody knows it Instead of fighting this, we tried to use it to our advantage By forcing the players to interact, after all, we could “populate” our world of 2142 And interact they did For instance, starting with only three photographs of kitchen utensils and an audio file of a dripping tap, they slowly broke a message written in the original Enigma code the Nazis used during World War II We put half a chess problem in the New York Times one day and the other half in the Los Angeles Times a few days later, confident that players would see both, assemble them, and identify the right next move correctly When a crucial clue went missing from a live event, leaving one puzzle impossible to solve, players built a distributed processor—literally linking more than 400 of their computers together—to hack into an encrypted site by brute force For players, community interaction was the most intense and rewarding part of the game My evidence for that assertion? In my career as a novelist, at best I have gotten the occasional fan letter After several of our ARGs, I have been invited to the weddings of people who met and became engaged in the course of the game *** The nature of a pervasive game, in all the many varieties discussed in this book, is to make the “magic circle” of a game not a barrier, but a membrane; to let game and life bleed together so that game becomes heavy with the reality of life, and life becomes charged with the meaning of game As Elan said, “The player’s life should be the game board.” An interviewer, talking to one of the players, asked, “When you are playing one of these games, who are you pretending to be?” To which the player replied, “Basically, you’re playing someone who is exactly the same as you in every way, except they think it’s real.” For instance, within 24 hours of posting a blog entry about her grandmother’s death, the protagonist of The Beast, Laia Salla, received hundreds of condolence emails xiv foreword Nobody writes to Madame Bovary or Anne of Green Gables But Laia was different Laia had a phone number you could call; she wrote you email and you could write back She treated you as if you were just as real as the rest of her friends in the year 2142, and it was hard not to repay the favor Laia admittedly lived in the 22nd century, but in many ways she was every bit as real as your cousin who lives in Cleveland; more real, actually, or at least polite enough to write you more often *** In the spring of 2002, Elan gave a famous talk at the Game Developers Conference The title was taken from our in-house motto for The Beast: This Is Not a Game Our driving goal was to make that game feel real Not because we wanted anyone to think it was real—all the Web sites were dated 2142, after all—but because the depth and care with which we created our alternate world served as a token of good faith to the players It was our way of saying, “Come Play with us If you are willing to suspend your disbelief, we will make it worth your while.” To live, this kind of entertainment needs access to your life Pervasive games, like vampires, can only enter if you let them in *** Of course, “This Is Not a Game” is only half the equation, and probably the less important half It is easy to extend a game into real life once you make that a goal, but doing so raises many questions Just as a good movie is more entertaining than a 90-minute slice of your regular life, a good game has rules that make it fun to play There are even moral questions If, in the course of a narrative game, an actor “dies” on a public bus, how does that affect passersby that don’t realize that the death is “only a game?” For that matter, what responsibilities game designers undertake when they ask their players to play in the real world? For instance, in 2004, Elan and I worked on a game called I Love Bees The core mechanic required players to go into the real world to answer pay phones On one occasion, one of our players went to answer a phone on a Florida beach only hours ahead of a hurricane landfall Without meaning to, our game had clearly put him in harm’s way The issues that arise when you extend the magic membrane of game into real life are what make this book so compelling Markus Montola, Jaakko Stenros, and Annika Waern have done an admirable job in creating the definitive resource for students, researchers, and designers of pervasive games The wealth of case studies in this book, its understanding of issues in game design, and its willingness to tackle even the field’s hard ethical questions make it an invaluable resource for everyone interested in playing in the real world xv Contributors (Full Contributor information can be found on the companion website) Matt Adams, Artist, Blast Theory, UK Rafael “Tico” Ballagas (PhD), Interaction Designer and HCI Researcher, Nokia Research Center, USA Joe Belfiore, Vice President, Zune Software and Service Team, Microsoft, USA Staffan Björk (PhD), Associate Professor, Göteborg University and Senior Researcher, Interactive Institute, Sweden Eric Clough, Founder, 212box LLC, USA Martin Ericsson, Creative Director, The Company P, Sweden Jussi Holopainen, Principal Scientist, Nokia Research Center, Finland Fredrik Lange (PhD), Assistant Professor, Stockholm School of Economics, Sweden Frank Lantz, Creative Director, area/code, New York, USA Frans Mäyrä (PhD), Professor, Department of Information Studies and Interactive Media, University of Tampere, Finland Markus Montola (M.Soc.Sc.), Researcher, Nokia Research Center, Finland Johan Peitz (M.Sc.), Technical Director, Muskedunder Interactive, Sweden Olli Sotamaa (MA), Researcher, Department of Information Studies and Interactive Media, University of Tampere, Finland Jaakko Stenros (M.Soc.Sc.), Researcher, Department of Information Studies and Interactive Media, University of Tampere, Finland Sean Stewart, Lead Writer and Designer, Fourth Wall Studios Lead writer of ARGs such as The Beast and I Love Bees and author of Cathy’s Book series, USA Mattias Svahn (LL.M., M.Soc.Econ.), Senior Media Analyst, go/communication, Sweden Annika Waern (PhD), Research Leader, Mobile Life Center, Stockholm University and Studio Director, Interactive Institute, Sweden Steffen P Walz (PhD), Founder, sreee! and an editor of Space Time Play and Computer Games, Architecture and Urbanism: The Next Level, Switzerland xvii Introduction We love games We love board games, party games, role-playing games, digital games, online games, and all kinds of games We all had our first strong experiences of pervasive games—of games that felt somehow more real, more encompassing, and more engaging—over ten years ago These games were played among everyday people living their everyday lives Markus and Jaakko remember fondly their first pervasive larps, role-playing around the city, looking at the streets through fantasy glasses and seeing things ordinary people had no idea of Annika often reminisces about her visits to Medieval Week on Gotland, how regular tourists went in hiding as the whole city was transformed by hundreds of celebrating people wearing elaborate historical costumes Traces of pervasive playfulness can probably be found in all civilizations, even though in this book we only look at the last few decades Mysteries, scavenger hunts, and ludic pranks have long been a part of modern society Yet it was the recent advances in communication technologies—in particular the adoption of the Internet, mobile communication, and positioning technologies—that opened new design spaces for pervasive play The very term pervasive game was probably coined in the year 2001, when The Beast, Majestic, and BotFighters were launched These were games that shamelessly defied the usual boundaries of play Since then experimental and commercial pervasive games have spawned everywhere, and today they form a varied landscape An important goal of this book is to map new terrain and to find the design tricks, philosophies, and techniques that make pervasive games tick In the process of writing this book, we have discovered countless exciting styles, genres, and traditions that we have enjoyed dwelling into and trying out We are constantly surprised by the novel pervasive activities people come up with As we have become more aware of the pervasive forms of play, we have learned to see them all around us In part this is because we look for them, but we feel that society is also changing This shift is brought into focus when we tune in to watch The Amazing Race players compete around the world, when advertisement campaigns for films, cars, and burgers adopt the form of games that blur fact and fiction, but also in everyday interactions when we receive Facebook invitations to join geocaching expeditions Every week we read about a new, daring Banksy painting, witness some jackass climb a skyscraper wall on YouTube, or hear of a new flash mob turning a public square into minutes of carnival on an ordinary Thursday afternoon Researchers and companies around the globe come up with new playful ways of using mobile and positioning technologies Even mainstream conventions of what it is to play a game are shifting Playfulness is seeping into the ordinary Everyday life is becoming interlaced with games This new family of games has been called by many names: adaptronic games, alternate reality games, ambient games, appropriative games, augmented reality games, big games, brink games, context aware games, crossmedia games, geogames, hybrid games, immersive games, invasive games, location-based games, locative games, massive games, mixed reality games, mobile games, pervasive games, reality games, supergames, total xix introduction games, transreality games, ubiquitous games, urban games, and so on The plethora of similar yet not identical labels illustrates not only that pervasive games are part of the zeitgeist, but the difficulty of grasping this new playing field This book is our best attempt at connecting the dots and drawing a big picture of pervasive games How to Use this Book This book is intended for game researchers, game designers, and pervasive game enthusiasts It is also relevant for people who have a general interest in the cultural shift fostered by the increasing presence of games in our lives The book has therefore been divided in three parts: Theory, Design, and Society The very first chapter should be an interesting read for all readers, but with the other chapters it is possible to pick and mix based on one’s tastes (Unless you are a student and your teacher has chosen the relevant chapters— in which case you have our sympathies.) The first section on Theory explains what pervasive games are, where they came from, and what forms they take These three first chapters lay the foundation for understanding what comes after In the first chapter, the concept of pervasive games is defined and their relation to games in general is discussed The second chapter looks at how pervasive games can be divided into different genres The third chapter charts the historical influences, looking at neighboring and preceding phenomena that have laid the groundwork for the current surge of pervasive games In the second section, Design, we look into what we can learn from the pervasive games that have been designed and staged previously This section is targeted primarily at the pervasive game designer, but these tools are also useful in the study and analysis of pervasive games As with all game design, pervasive game design is second-order design: The designer does not design play but the structures, rules, and artifacts that help bring it about Chapters Four, Five, and Six look at pervasive games spatially, temporally, and socially, charting opportunities and highlighting challenges Chapter Seven looks at pervasive games from a holistic perspective, even giving normative design guidelines for particular kinds of pervasive games Chapter Eight explores the use of technology as a design tool Chapter Nine focuses on mobile phones, the most widely used platform for pervasive games In the third part, Society, we take a step back and view pervasive games in a wider societal context Games are always political, but play that transgresses the boundaries of games is even more so This part of the book is an important read for anybody who produces, markets, or studies pervasive games Chapter Ten tackles the ethics of pervasive games Activities that blur the border between ordinary life and game are almost automatically packaged with numerous ethical issues The chapter gives few definite answers to what makes a pervasive game ethically acceptable or unacceptable, but outlines the dilemmas each designer must address and provides the conceptual tools that allow us to discuss them Chapter Eleven looks at the challenge of marketing pervasive games to a wider audience As these games can be difficult to pitch in a few words, it is helpful to consider how to better categorize them In Chapter xx introduction Twelve, pervasive games are discussed as a form of art and as a political tool by three distinguished designers Finally, Chapter Thirteen ties pervasive games to the media culture in general and sees major shifts in how the struggle for public space, the blurring of fact and fiction, and the rise of ludus in society are changing the way we perceive the world It is almost impossible to fully appreciate games without playing them Unfortunately, in the case of pervasive games, it is often difficult to play all the interesting ones as many games are run only once, in private, or staged on faraway continents.1 We have tackled the problem through a portfolio of case descriptions that represent the broad spectrum of pervasive games, each illustrating the central themes of the following chapter Throughout the book, we need to bring up various social distinctions that are all too easy to problematize with postmodernist argumentation For instance, we talk about game worlds and virtual worlds as the domains where ludic action takes place The difficulty in such concepts is defining their opposites: The real world is a very problematic term, as a game world and the physical world can be argued to be equally real Restricting ourselves to discussing the physical world would be equally problematic, as our ordinary life spans many virtual areas—and all virtual worlds are based fundamentally on physical existence Even talking about gaming versus ordinary life is problematic, as for many of us gaming is an everyday activity that plays a central role in our ordinary lives Nevertheless, we use ordinary life as the opposite of play time, actual and factual as opposites of fictional, physical as an opposite of virtual, and so forth We could have highlighted the social nature of these distinctions by adding quotation marks to all occurrences of words such as real, actual, and ordinary, but we omitted them in the interest of readability Working with this book turned into an exploration of countless cultural trends and local niches of play We started writing this book to document what we had learned during three and a half years of researching pervasive games, only to discover that we had barely scratched the surface Whenever we felt we had mastered a particular facet of our subject, we discovered several new aspects that could not be left untouched Every time we studied the origins of one game, we found another lurking behind it Eventually, every thread could not be followed, every idea could not be explored in equal depth, and every game we researched could not be included Throughout the process the words of Johan Huizinga gave us hope In the foreword to his classic Homo Ludens he writes: The reader of these pages should not look for detailed documentation of every word In treating of the general problems of culture one is constantly obliged to undertake predatory incursions into provinces not sufficiently explored by the raider himself To fill all the gaps in my knowledge beforehand was out of the question for me I had to write now, or not at all And I wanted to write (Huizinga, 1938) It is hoped that others will stumble through our web of concepts, descriptions, and assumptions to find themselves inspired to design, stage, and study pervasive games It is our humble hope that we have not written the last word on the subject, and that others will pick up where we have left off Helsinki and Stockholm, January 1, 2009 Markus Montola, Jaakko Stenros, & Annika Waern xxi introduction Note We have not added dates to the games presented in the text: Many games (tag) are impossible to date, whereas others (scavenger hunt) are reinvented every time they are staged, and some (basketball) have been played in countless variations Whenever available, the year of the game can be found from the ludography of the book This book is also packed with borderline cases that can sometimes be seen as games and sometimes as something else: For example, skateboarding is a playful leisure activity and a competitive sport, whereas Abstract Tours is a participatory art performance and a playful challenge Acknowledgments From 2004 to 2008 we were working in the Integrated Project on Pervasive Gaming IPerG We thank the European Commission’s IST programme (FP6-004457) for funding the research project that brought together people from academia, the industries, and the art world in four different countries We are excited and honored to have been offered the opportunity to work with the wonderful people from Blast Theory, Fraunhofer FIT, Gotland University, It’s Alive!/Daydream, Sony NetServices, Swedish Institute of Computer Science, and the University of Nottingham and from our home bases University of Tampere Hypermedia Laboratory, Interactive Institute, and Nokia Research Center Markus Montola also thanks the Finnish Cultural Foundation for a grant, which at one time enabled him to work on the book Jaakko Stenros thanks the Games as Services project and Tekes, the Finnish Funding Agency for Technology and Innovation Annika Waern thanks Mobile Life center and Vinnova We are also indebted to a huge number of people whose support, criticism, help, and comments have made writing this book possible For pointing us toward interesting research lines, for commenting on our manuscripts, for opening up their invaluable game design processes, and for helping us get our work published, we especially want to express our gratitude to Lars Andersen, Steve Benford, Amanda Bernsohn, John Paul Bichard, Emil Boss, Christy Dena, Marie Denward, Stéphane Donikian, Tina Ellerkamp, Pasi Falk, Eirik Fatland, Joel Fischer, Mary Flanagan, Martin Flintham, Tracy Fullerton, Sabiha Ghellal, J Tuomas Harviainen, Mikko Hautakangas, Satu Heliö, Kristina Höök, Staffan Jonsson, Oskar Juhlin, Anu Jäppinen, Hanna Järvinen, Johanna Koljonen, Hannu Korhonen, Jussi Kuittinen, Peter Kullgard, Anna-Kaisa Kultima, Jussi Lahti, Petri Lankoski, Ari-Pekka Lappi, Craig Lindley, Irma Lindt, Donald L Luskin, Carsten Magerkurth, Mirkka Maikola, Jane McGonigal, Johannes Niemelä, Eva Nieuwdorp, Timo Nummenmaa, Andie Nordgren, Elina Ollila, Janne Paavilainen, Eetu Paloheimo, Itamar Parann, Kalle Partanen, Celia Pearce, Juhana Pettersson, Mikko Rautalahti, Ju Row Farr, Laura Ruggeri, Hannamari Saarenpää, Christopher Sandberg, Anna Shepherd, Kevin Shields, Lori Shyba, Adriana Skarped, Walther Smith, Ulrike Spierling, the Stenros family, Daniel Sundström, Riku Suomela, Jonas Söderberg, Tom Söderlund, Nick Tandavanitj, Dare Talvitie, Alexander Thayer, Tutkimustie Oy, Mathy Vanbuel, Jonatan Waern, Love Waern, Mattias Waern, Richard Wetzel, Tobias Wrigstad, Karl-Petter Åkesson, and probably numerous other people we are taking for granted The Nordic role-playing community has offered us not only a vibrant game culture, but also a safe place to test our ideas, one where we can always count on a perfect combination of enthusiastic support and harsh criticism xxii introduction We also want to extend our gratitude to the Finnish National Audiovisual Archive, the Alternate Reality Game Researcher & Educator Mailing List, IGDA Alternate Reality Games SIG, Cloudmakers Internet community, and the Kasa and Towleroad blogs They provided us with countless leads and clues; although they did not always end up in the book, they helped us sharpen our understanding of the subject Finally, we thank Wikimedia Foundation, Internet Movie Database, Flickr, and YouTube for providing us, and everyone else, with excellent, free databases that allowed us to discover several research lines that we would never have stumbled upon otherwise xxiii references Smith, E.E., & Medin, D.L (1981) Categories and concepts Cambridge, MA: Harvard University Press Smith, L.B., & Samuelson, L.K (1997) Perceiving and remembering: Category stability, variability and development In K Lamberts & D Shanks (Eds.), Knowledge, concepts and categories (pp 161–196) Hove: Psychology Press Sotamaa, O (2002) All the world’s a BotFighters stage: Notes on location-based multi-user gaming In F Mäyrä (Ed.), Computer games and digital cultures conference proceedings Tampere: Tampere University Press Starner, T., Leibe, B., Singletary, B., & Pair, J (2000) MIND-WARPING: Towards creating a compelling collaborative augmented reality game In Proceedings of the 5th international conference on intelligent user interfaces IUI’2000 ACM www.cc.gatech.edu/ccg/publications/mind-warping-iui2000.pdf Steinkuehler, C (2006) The mangle of play Games and Culture, 1(3) Stenros, J., Montola, M., & Mäyrä, F (2007a) Pervasive games in ludic society In Proceedings of the 2007 conference on Future Play (pp 30–37) FuturePlay 2007 ACM Stenros, J., Montola, M., & Waern, A (2007b) Post mortem interaction: Social play modes in Momentum In J Donnis, L Thorup, & M Gade (Eds.), Lifelike (pp 131–146) Copenhagen: Projektgruppen KP07, www.liveforum.dk/kp07book Stenros, J., Montola, M., Waern, A., & Jonsson, S (2007c) Momentum Evaluation Report IPerG Deliverable 11.8 Appendix C www.pervasive-gaming.org/Deliverables/D11.8-Appendix-CMomentum-Evaluation-Report.pdf Stenros, J., Montola, M., Waern, A., & Jonsson, S (2007d) Play it for real: Sustained seamless life/ game merger in Momentum In A Baba (Ed.), Proceedings of DiGRA 2007 situated play conference (pp 121–129) University of Tokyo www.digra.org/dl/db/07313.58398.pdf Sternberg, E (1999) The economy of icons: How business manufactures meaning Westport, CT: Praeger Struppek, M., & Willis, K.S (2007) BotFighters: A game that surrounds you In F von Borries, W Friedrich, P Steffen, & M Böttger (Eds.), Space time play Computer games, architecture and urbanism: The next level (pp 226–227) Berlin: Birkhäuser Suits, B (1990) Construction of a definition In K Salen & E Zimmerman (Eds.), (2006): The game design reader: A rules of play anthology Cambridge: MIT Press Sussman, E (1997) Keith Haring New York: Whitney Museum of American Art Svahn, M., Kullgard, P., Waern, A., Holopainen, J., Koivisto, E., Stenros, J., et al (2006) Business opportunities and business structures IPerG Deliverable D4.5: www.pervasive-gaming.org/ Deliverables/D4.5-Business-opportunities-and-business-structures.pdf Szulborski, D (2005) This is not a game: A guide to alternate reality gaming Exe Active Media Group Talvitie, D (2004) A manual for city-based live-action roleplaying Version 0.3 beta http://users.utu fi/aletal/roolipelaaja/citygamer Talvitie, D (2007): Kaupunkipelin järjestäjän opas In T Rantanen (Ed.), Larpinjärjestäjän käsikirja Suomen liveroolipelaajat ry, Helsinki Tan, P (2003) Tensions in live-action roleplaying game design: A case study with the MIT Assassins’ Guild Master’s Thesis, Massachusetts Institute for Technology Taylor, T.L., & Kolko, B (2003) Boundary spaces: Majestic and the uncertain status of knowledge, community and self in a digital age www.itu.dk/~tltaylor/papers/TaylorKolko-Majestic.pdf Information, Communication & Society, 6(4), 497–522 Templeton, F (1990) YOU–The City New York: Roof Books Tracey, D (2007) Guerilla gardening: A manualfesto New Society Publishers Turkle, S (1995) Life on the screen: Identity in the age of the Internet New York: Simon & Schuster Turner, F (2006) Why study new games? Games and Culture, 1(1), 1–4 Turner, V (1982) From ritual to theatre, the human seriousness of play New York: PAJ Publications Turtiainen, R (2007) Kahden kaukalon välissä: Fantasialiigojen maailmaa kartoittamassa Lähikuva, 20(4), 39–59 Ulmer, D (2004) Foreword In L Cameron (Ed.), The geocaching handbook Guildford, CT: Falcon Guide VanDeVeer, D (1979) Coercive restraint of offensive actions Philosophy and Public Affairs, 8(2), 175–193 297 References Veal, A.J (2004) A brief history of work and its relationship to leisure In J.T Haworth & A.J Veal (Eds.), Work and leisure New York: Routledge Waern, Annika, Montola, Markus & Stenros, Jaakko (2009): The Three-sixty Illusion: Designing for Immersion in Pervasive Games In the proceedings of Ch1’09 conference Walther, B.K (2005) Atomic actions—Molecular experience: Theory of pervasive gaming http://portal acm.org/citation.cfm?id1077258 Computers in Entertainment, 3(3) Walz, S.P (2007) Pervasive persuasive play: Rhetorical game design for the Ubicomp world In B.J Fogg & D Eckles (Eds.), Mobile persuasion: 20 perspectives on the future of behavior change (pp 101–108) Stanford, CA: Stanford Captology Press Watts, D.J., Peretti, J., & Frumin, M (2007) Viral marketing for the real world http://cdg.columbia edu/uploads/papers/watts2007_viralMarketing.pdf Harvard Business Review Weiser, M., & Brown, J S (1995) Designing calm technology Xerox parc Available as http://people csail.mit.edu/rudolph/Teaching/weiser.pdf Werkman, R (2001) Vampire: The Masquerade—A countercultural performance In K Lancaster & T Mikotowicz (Eds.), Performing the force Jefferson: McFarland & Company Inc Widing, G (Ed.), (2007) Verklighetsspel Special issue on reality games In Interacting Arts No Sverok, Stockholm Wilson, P (2004) Jamming Big Brother USA: Webcasting, audience intervention, and narrative activism In S Murray & L Ouellette (Eds.), Reality TV: Remaking television culture (pp 323–343) New York: New York University Press Wilson, R.A (1983) Prometheus rising New Falcon Publications Winick, J (2000) Pedro and me: Friendship, loss and what I learned New York: Henry Holt and Company Wollen, P (2001) Situationists and architecture Published originally in New Left Review #8 Accessed from http://newleftreview.org/A2315 Yee, N (2006) The demographics, motivations and derived experiences of users of massively-multiuser online graphical environments Presence: Teleoperators and Virtual Environments, 15(3), 309–329 Personal Communication Luskin, D L (2008) Personal email correspondence Parann, I (2008) Personal email correspondence Ruggeri, L (2008) Personal email correspondence Stewart, S (2008) Personal email correspondence 298 Source of Illustrations  Considerable effort has been made to trace copyright holders of images The authors and the publisher apologize for any errors or omissions, and, if notified, will endeavor to correct these at the earliest available opportunity A.1 A.2 1.1 1.2 1.3 1.4 B.1 B.2 B.3 2.1a and 2.1b 2.2 2.3 2.4 2.5 2.6 2.7 C.1 C.2 C.3 3.1 3.2 3.3 3.4 3.5 D.1a and D.2b 4.1 4.2a and 4.2b 4.3 Publicity photo from the film La decima vittima, courtesy of Finnish National Audiovisual Archive Film copyright © Surf Film Deathgame Photograph and copyright © Hampus Isaksson Sumo Photograph and copyright © Alisdair McDiarmid Manhattan MegaPUTT Photographer and copyright © Amanda Bernsohn Illustration from Killer: The Game of Assassination Illustrator Denis Loubet Copyright © Steve Jackson Games Big Urban Game Photograph and copyright © Frank Lantz The Beast Screen capture copyright © Microsoft Cited from www cloudmakers.org The Beast Photograph and copyright © James Calentino The Beast Screen capture copyright © Microsoft Cited from www cloudmakers.org Perplex City Photographs and copyright © Andy Darley Deathgame Photograph and copyright © Signe Sjöberg Helsingin Camarilla Photograph and copyright © Suvi Lehtoranta I Love Bees Photograph and copyright © Andrew Sorcini Can You See Me Now? Courtesy and copyright © Blast Theory Big Urban Game Photograph and copyright © Frank Lantz Visby Under Photograph by Peter Knutson Copyright © Interactive Institute Shelby Logan’s Run Photograph and copyright © Joe Belfiore Shelby Logan’s Run Photograph and copyright © Walter Smith Shelby Logan’s Run Photograph and copyright © Walter Smith Reclaim the Streets, Canberra Photograph and copyright © by Daniel Robinson Lap Game Copyright © Illinois Parks and Recreation Magazine Funeral Ceremony of the Anti-Procès Picture by Cameraphoto, quoted from Kaprow (1966) Uplink Copyright © Introversion software System Danmarc Picture and copyright © Michel Winckler-Krog, Intense, www.intense-images.dk BotFighters Screen capture copyright © Gamefederation Studio/ Digiment Games Abstract Tours Copyright © Laura Ruggeri Momentum Photographs and copyright © Staffan Jonsson Songs of North Illustration by Jani Nummela © University of Tampere 299 source of illustrations E.1 and E.2a Mystery on Fifth Avenue Illustration courtesy and copyright © 212box LLC E.2b and E.2c, Mystery on Fifth Avenue Photographs and copyright © E.3a, E.3b Jody Kivort and E.3c 5.1a and 5.1b MLSN Sports Pics Screencapture and copyright © Digital Chocolate 5.2a and 5.2b Mystery on Fifth Avenue Photographs and copyright © Jody Kivort 5.3 Shelby Logan’s Run Photograph and copyright © Walter Smith F.1 Momentum Photograph and copyright © Stina Almered F.2 and Momentum Photograph and copyright © Jaakko Stenros F.3 6.1 The White Road Photograph and copyright © Bjarke Pedersen 6.2 Human Blackjack Photograph and copyright © Amanda Bernsohn G.1 and PacManhattan Photograph courtesy and copyright © PacManhattan Team, G.2 NYU Interactive Telecommunications Program G.3 Pacman@Lyon Photograph and copyright © Clément Chaine 7.1 Shelby Logan’s Run Photograph and copyright © Walter Smith 7.2a, 7.2b Dragonbane Three-dimensional modeling by Mikko Mähưnen & Team and 7.2c Copyright © Dragonbane Photographs by Janne Bjưrklund & Team Copyright © Dragonbane 7.3a Shelby Logan’s Run Photograph and copyright © Walter Smith 7.3b Där vi fưll Photograph and copyright © Markus Montola 7.4 Momentum Photograph and copyright © Staffan Jonsson 7.5 Interference Photograph and copyright © André Scheufeld H.1, H.2a Epidemic Menace Photographs and copyright © Nina Dautzenberg and H.2b 8.1a REXplorer Photographer and copyright © Alexander Mưhnle 8.1b Epidemic Menace Photographer and copyright © Nina Dautzenberg 8.2a and 8.2b Där vi fưll Photographs and copyright © Pär Hansson 8.3a and 8.3b Day of the Figurines Courtesy of and copyright © Blast Theory I.1a and I.1b 9.1a and 9.1b J.1 10.1 10.2 10.3 10.4 K.1 K.2 L.1a and L.1b 300 Insectopia Screen capture copyrights © Interactive Institute Mythical: The Mobile Awakening Copyrights © Nokia Research Center, University of Nottingham, University of Tampere, Gotland University, and the Interactive Institute Press clippings regarding Vem gråter quoted from Interacting Arts #4 Copyright © Interacting Arts Shelby Logan’s Run Courtesy and copyright © Kevin Shields and Walter Smith Sanningen om Marika Screen capture copyright © The Company P Mario Question Blocks Courtesy of and copyright © Posterchild, www bladediary.com Pavlovin koirat Courtesy of and copyright © Art Films production AFP Oy Detail of the REXplorer brochure Copyright © ETH Zurich, Dept of Architecture, CAAD Group REXplorer Photographer and copyright © Steffen P Walz Uncle Roy All Around You Courtesy of and copyright © Blast Theory source of illustrations 12.1 12.2 12.3 12.4 M.1 Desert Rain Courtesy and copyright © Blast Theory Rider Spoke Courtesy and copyright © Blast Theory Carolus Rex Photograph and copyright © Olle Sahlin Hamlet Photograph and copyright © Bengt Liljeros The Amazing Race Photograph by Chris Castallo Copyright © CBS/Cris Graves/Landov M.2 The Real Race Courtesy and copyright © The Real Race 13.1 lonelygirl15 in YouTube Screen capture copyright © EQAL 13.2 Zombie Walk Detroit Photograph and copyright © Wigwam Jones 13.3 Graffiti Copyright © Banksy Cited from www.banksy.co.uk 13.5a System Danmarc Photograph and copyright © Ebbe Valbak 13.5b System Danmarc Photograph and copyright © Winckler-Krog, Intense, www.intense-images.dk 13.8 Escape from the Tower Photograph Vanessa Bellaar Spruijt Copyright © Hewlett-Packard Ltd Figures 1.5, 5.4, 11.1, 11.2, 11.3, 12.5, 13.4, 13.6, and 13.7 by Jani Nummela 301 Index Note: “n” has been used for the terms found in Note Section of the text 212box, 91, 93, 96n1 360° illusion, 141–142 419 scam, 261, 273 9-11 Survivor, 236 A A.I.; Artificial Intelligence, 25, 26, 223, 243 Aarseth, Espen, 69n9, 158n10 Abstract Tours, 78, 208, 263 accountability, 199–201 active play, 98, 99, 103 activity blending, 188–189 Adams, Douglas, 61, 69n8 Adams, Matt, 235, 236 adaptronic; adaptronicity, 89, 99, 161 adbusting, 114 aesthetics, 12, 13, 28, 57, 63, 137, 172, 239 affordance, 17, 18, 23n14 AIBO, 161, 162n2 Alexander, Bryan, 61 Alias ARG; Alias Online Adventure, 30 Alice in Wonderland, 27, 127 alternate reality game; ARG, 37–40, 203, 275 Altman, Rick, 45 Amazing Race, The, 21, 42, 84, 90n4, 126, 127, 139, 174n1, 201, 211, 251–255, 275 ambient games, 99 ambiguous state, 118 American Idol, 254, 259 America’s Army, 238 Animal Crossing, 190n4 Anxiety, 106, 194 apophenia, 23n16, 124 Apprentice, The, 254 Appropriation, 54, 211 Apter, Michael J., 16, 106, 107, 193, 270 area/code, 53–54, 235 armchair treasure hunt, 62 Arneson, Dave, 64 Ars Magica, 243 Art, 58–61, 210–211, 235–249 Art of the H3ist, The, 30, 38 artifact; game aftifact; diegetic artifact, 168, 169, 170–174, 199 artificial, 8, 19 artificial conflict, assassination games, 31, 34–35 asynchronous play; asynchronous games, 100, 109, 154 audience, 59–61, 126 augmented reality; AR; augmented, augmentation, 13, 89, 134, 159, 169 authentic; authenticity, 17, 79, 85, 88 autotelic, 277n18 avatar, 65, 84, 152, 156, 173, 181, 261 aware state, 118 B Bachman, Richard, 58 Backseat Gaming, 43 Backseat Playground, 80, 82 Ballagas, Rafael “Tico”, 215–218 Banksy, 264, 265 BARF V: Mission Impossible, 138 Bartle, Richard, 70n10 baseball, 161, 246, 247, 267 basketball, 9, 17, 267, 270 Bateson, Gregory, 8–9 Baudrillard, Jean, 259 Beast, The; A.I Web Game, The, 25–30, 38, 68, 69, 103, 106, 119, 139, 144, 146, 150, 155, 156, 164, 167, 203, 223, 243, 274 Belfiore, Joe, 47–51, 68, 213n11 Benford, Steve, 101, 169 Bennet, Claire, 259 Bey, Hakim, 129n5 303 index Big Brother, 213n4, 254, 259, 268, 271 Big Urban Game; B.U.G., 16, 41, 54 Bjerver, Martin, 98, 156 Björk, Staffan, 14, 22n7, 97–110 Blaine, David, 62 Blair Witch Project, The, 58, 268 Blast Theory, 41, 162, 173, 231, 235, 239 Bluetooth, 99, 119, 121, 167, 175, 177, 180, 185 blur of the real and the fictive, 258, 268 Boal, Augusto, 59 body extension, 168 Bogost, Ian, Boltanski, Christian, 233 Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, 277n30 BotFighters, 21, 22, 65, 69, 73–75, 83, 97, 98, 106, 108, 154, 156, 157, 164, 169, 179, 180, 182, 186, 200, 223, 225, 226, 274 Bourriaud, Nicholas, 239 Boxing, 8, 9, 20, 22n1, 197, 269 Brand, 219, 222–223 Brand, Stewart, 55 Brecht, Bertolt, 61, 236 Bree, 146, 259, 260 brink game, 124 Brown, Chris, 93 Brown, Dakota, 54 Brown, Dan, 58 buildering, 54, 198, 271 busking, 41, 59, 262 bystander; non-participant, 14–15, 206, 210 C C.S.I., 45n1 C’était un rendez-vous, 263 Caillois, Roger, Calle, Sophie, 233 Calleja, Gordon, 158n13 Can You See Me Now?, 40, 41, 66, 234n1 Candid Camera, 19, 128, 229n1, 259, 271, 272, 277n13 Candid Microphone, 259 Capricorn One, 59 Card, Orson Scott, 58 Carlyle, Patrick, 67 carnival; carnivalistic; carnivalism, 53, 54, 55, 79, 119, 156, 253 Carolus Rex, 241 Carroll, Lewis, 30n4 Carrot Mob, 277n14 casual game, 156 categorization, 219–220 304 category essence, 221, 222, 224, 226, 228 category prototype, 221, 222–223 Cathy’s Book, 62, 157, 174n4 cell positioning, 87, 190 chained tasks, 139 challenge-based immersion, 155 Chalmers, Matthew, 167 Chan, Evan, 25, 27 Chandler, Daniel, 23n20 Character, 17, 36, 82, 109, 111, 115, 122, 141, 145, 146, 152, 156, 169, 181, 261 Chasing the Wish, 30, 39 Chess, 9, 12, 17, 62, 100, 149 Chesterton, G K., 58 Children’s play; child’s play, 54 Chomsky, Noam, 59 Chun, Eun Sun, 96n1 Chung, Cherie, 67 Citizen Kane, 247 classic games, 10, 21, 54, 97, 226–227, 276 Cloudmakers, The, 27 Clue, Cluedo, 47, 62, 67, 69, 101, 139, 150, 202 cognitive economy, 221 Cohen, Sacha Baron, 277n13 collective intelligence, 38 collective play, 128 collective story, 150–151 Colossal Cave Adventure, 65 Come Out and Play, 13, 41, 46n13 Command & Conquer, 45n1 Community, 28, 36, 150, 156, 184, 263, 269 Consent, 14, 201–203 conspiracy fiction, 260 conspiracy theory, 59 contextual adaptability, 107–108, 109 controller, 132, 133, 147 convergence culture, 267 cosplay, 64 Costikyan, Greg, 45 Coup, 187 critical mass (design challenge), 75, 122, 153–154, 187 crossmedia, 160, 162 n1, 193 Cruel B Kind, 6, 15, 35, 122, 124 Csikszentmihalyi, Mihaly, 155 cult, cyberspace, 88 D Dance Dance Revolution, 75, 224, 266, 268 Dansey, Neil, 23n16, 124 index Där vi föll; Prosopopeia Bardo 1: Där vi föll, 104, 115, 123, 171 dark play, 15 Darley, Andy, 33 DaVinci Code, 58 Day of the Figurines, 100, 109, 165, 172, 173, 238, 240 dead reconing, 113, 171 Deathgame, Dena, Christy, 121, 274 Desert Rain, 236, 237, 240, 249n2 Dick, Philip K., 58 diegesis, diegetic, 22n5 distributed narrative, 150 Dixon, Steve, 233 Dogtown and Z-Boys, 69n4 Dormancy, 98, 100, 108 dormant games, 98 double life, 125, 203 Douglas, Norman, 54 Downkeying, 269 Dragonbane, 143, 157n4 Drift, 263 Dungeons & Dragons, 64 E Eagle Eye: Free Fall, 39 ecstatic furnace, 241 effort, 9, 23n22, 39, 142, 186, 193, 236, 262 Eglin, Roger, 99 electronic voice phenomena; EVP, 174n6 Ellis, Anthony, 205 emergence, emergent, 18–19, 123–124, 149, 153, 253, 266, 276 End is Nigh, The, 200, 203 Ender’s Game, 58 Eno, Brian, 99 Entropia Universe, 23n10, 88 Epidemic Menace, 21, 45n1, 64, 69, 88–89, 127, 159, 164, 165, 169, 243, 274 ergodic text, 69n9, 158n10 Ericsson, Martin, 22, 53, 193, 235, 240–245 Ermi, Laura, 155 Escape from Woomera, 236 ethics (of pervasive games), 197–213 European Epidemic Prevention Agency; EEPA, 159 EVE Online, 19, 102, 151, 266 Everquest, 65, 102 Exergame, 75, 86 eXistenZ, 58 Exocog, 40 Expedition: Robinson, 277n6 experience economy, 266 expressive interfaces, 180 Eyles, Mark, 99 F fabricated context, 271, 272, 273 fabrication, 20, 23n22, 28, 29, 58, 199, 226, 260, 269, 271–273, 278n21 Facebook, 63, 150, 188 Fallout, 2, 153 fantasy sports, 99 Farr, Ju Row, 236–237 Fear Factor, 201, 253 Feinberg, Joel, 205 Fenner, Kate, 93 Fight Club, 59, 263 Final Fantasy, 64 Fincher, David, 29–30, 46n12, 58, 68 Fine, Gary Alan, 11, 57, 158n13 Finkel, Michael, 33, 103, 157n2 first person audience, 61 first person story, 151–152 Flanagan, Mary, 211 Flâneur, 262–263 Flash Flash Mob, 263 flash mob, 54, 108, 125, 129n5, 209, 263, 277n14 Fletcher, Yvonne, 232 Flow, 155–156 Fluxus, 59 Football, 13, 197 Formula One, 253 Fortytwo Entertainment, 30n6 Fowles, John, 58 Frame, 11, 14, 16, 19, 57, 243, 269, 270, 274, 277n19 Franko B, 236 Freerunning, 277n12 full play, 16, 98 Funeral ceremony of the Anti-Proces, 59, 60 G gambling; betting, 99, 100, 267, 271 game awareness, 118–119, 199 game control, 47, 48, 50, 146, 157n6 game entity, 13 game instance, 14, 149, 153, 160 game invitation, 119–120 game master; game mastering, 25, 36, 46n9, 64, 113, 114, 115, 126, 145, 146–147, 157n5, 167, 174n3, 200, 201 305 index game move, 17, 120 game session, 11, 14, 101, 252 game state, 17, 64, 164, 174n2, 243 game world, 12, 19, 20, 23n21, 73, 102, 186–187, 215 game world identification, 182–183, 187 Game, The (Belfiore tradition), 68, 70n14 Game, The (film), 28, 30n4, 58, 67, 68, 70n14, 104 Game, The (Luskin tradition), 67, 70n14 Games at Abydos, 53 games of emergence, 149, 153 games of progression, 149, 150, 153 Genres, 31–46, 68, 137, 219, 236 Geocaching, 33–34, 54, 114 Gestures, 11, 158n14, 166, 169, 170, 216, 217 Giannachi, Gabriella, 100–101 global gaming, 83–84 global positioning system; GPS, 33–34, 40, 48, 113, 167, 185 Go Game, The, 123, 168, 169, 201 Goffman, Erving, 9, 11, 18, 22n1, 23n22, 268–269, 270, 277n19 gold farming, 267, 271 golf, 13, 78, 271 Goodfried, Amanda, 260 Gotcha!, 66, 73 Graffiti, 54, 264, 265, 271 Grand Theft Auto, 149 Grand Theft Auto, 3, 16, 238 Great Dalmuti, The, 153 Great Scavenger Hunt, The, 34, 121 guerrilla gardening, 264 Gulliver’s Travels, 61 Gygax, Gary, 64 H Habbo Hotel, 65 Halo, 3, 219, 220, 222, 223, 226 Halonen, Arto, 211–212 Hamlet, 69n1, 241, 242, 249n3 Happening, 54, 59–60 Haring, Keith, 264 Harm, 205 Harviainen, J Tuomas, 22n4, 57 Helsingin Camarilla, 37 Herodotus, 69n2 Heroes 360 Experience, Heroes Evolutions, 30, 39 Histoire d’O, 69n7 Hitch-Hiker’s Guide to the Galaxy, The, 61, 62, 69n8 Hoax, 56, 61, 62, 275 306 Hollywood Stock Exchange, 18, 99 Holodeck, 58 Holopainen, Jussi, 14, 179–189 Holy Blood Holy Grail, 58–59 Hotmail, 190n6 House of Stairs, 58 Howell, Anthony, 60 Huber, William, 44 Huizinga, Johan, 7, 8, 10, 11, 12, 14, 19, 263, 270 Human Blackjack, 127 Human Pacman, 40 Hutton, E.F., 92 Hyperdiegesis, 30n5 I I Ching, 69n9 I Love Bees, 38, 39, 42, 84, 16, 121 ice hockey, 253 icon, iconic, 20, 23n20, 231 Il pendolo di Foucault, 59 Illuminatus! Trilogy, The, 59 imaginary entertainment environment, 27–28, 30n5 imaginative immersion, 155, 156 immediacy; immediate, 5, 20, 73, 85, 86, 100, 131, 141, 160, 164, 187, 189, 209, 273, 276 immersion, immersive, 85, 141, 143, 145, 155–156, 158n13, 172, 237, 241 immersive role-play, 141 In The Groove, 75 index, indexical, indexicality, 20, 23n20, 84–85, 113, 125, 141, 142 infiltration, 69n5 infinite affordances, 17, 18, 77, 146, 167, 185 information technology, 163–174 informed outsider, 122 infrared communication, 174n5 Insectopia, 34, 54, 99, 106, 108, 119, 121, 169, 175–177, 179, 181, 185, 186, 274 instrumental play, 271 interaction membrane, 9, 10, 11, 129n5 Interference, 147, 152, 167, 209 Internet, 6, 25, 30n8, 33, 34, 38, 49, 57, 62, 70n14, 77, 88, 128, 141, 144, 146, 164, 166, 170, 180, 188, 190n4, 260, 261, 263, 271, 272, 273, 275, 276, 277n9 Interruptability, 108–109 Interstellar Pig, The, 58 invisible theater, 15, 59, 60, 128, 263, 274, 277n13 Invisibles, The, 59 invitation to refuse, 119, 121 index invitations, 47, 62, 67, 68, 104, 119–120, 123, 169, 170, 187–188, 203, 205–206, 263 IPerG; Integrated Project on Pervasive Games, 162n1 J Jacobsson, Peter, 11 Jagd nach Mr X, 22n8 Janton, Daniel, 32 Jarkiewicz, Petra, 180 Järvinen, Aki, 45, 46n17 Jenkins, Henry, 55, 255n7, 267 JFK, 58 Johnson, J W., 3, 66 Joint Stock, 236 Jonsson, Staffan, 116n1 Journey, The, 43 Julius, Anthony, 210 Juul, Jesper, 9, 10, 12, 22n2, 149, 277n17 K Kaprow, Allan, 60, 236 Kejsartemplet, 169, 170 Kerr, John H., 19, 23n17 Keying, 268–269 Kickball, 135 Kidnap, 139 killer.berlin.doc, 34, 66 Killer: The Game of Assassination, 3–6, 34 Killer; assassination game; circle of death, 34–35, 36 King, Stephen, 58 Klinga, Adrijanna, 259 Knights of the Old Republic, 153 Knitta, 264, 277n15 Knyatzev, Sergei, 211–212 Koljonen, Johanna, 141–142, 157n4, 249n3 Kolko, Beth, 22n6, 30n11 Kortuem, Gerd, 22n9, 69 Koster, Raph, 70n10 L La decima vittima; The Tenth Victim, 3, 4, 10, 34, 253 Lange, Frederik, 219–229 Lantz, Frank, 131–135, 235–249 Lap game, 56 larp; live-action role-playing, 35–37, 46n10, 53, 61, 64, 65, 66, 69n1, 82, 102, 103, 121, 125, 139, 141, 152, 154, 155, 157n4, 169, 170, 200, 235, 241, 242, 269 Laser Tag, 170, 174n5 Last of Sheila, The, 67 Last Starfighter, The, 58 Lastowka, Greg, 197 layered participation, 121 Le tour du monde en quatre-vingts jours, 58 Leary, Timothy, 249n4 Lee, Elan, 30 legal-economical expansion, 19 Leisure Suit Larry in Land of Lounge Lizards, 17, 149 Letterboxing, 32, 33, 34, 114 Letterists, 262 life/game merger, 102, 116n1, 144–145, 259 liminality, 241 Lindley, Craig, 22n9, 66 Lindt, Irma, 160, 162n1 Lineage II, 65 Literacy, 273–274, 275, 276 Living Theater, 236 location free games, 79 location-based, 73 location-based story, 79 Logan’s Run, 33, 42, 47–51, 68, 105, 127, 138, 139, 146, 201, 202, 206, 211, 213n11, 274 lonelygirl, 15, 146, 223, 259, 260, 261, 271, 272, 277n8 long duration play, 109, 114, 148–149 Loponen, Mika, 23n20 Lord of the Rings, The, 84 Lost Experience, The, 30, 39, 150 ludic literature, 61–62, 258 ludic markers, 120, 144, 203–204 ludic prank, 56 ludic society, 267, 273–275 ludus; ludic, 9, 10, 45, 61–62, 104, 107, 109, 110, 144, 203, 204, 261, 266, 266–267, 268, 269, 273–275 Luskin, Don, 67–68, 70n14 lusory attitude, 17, 57, 119 M Mackay, Daniel, 27, 46n9, 64 magic circle, 7, 8, 10–17, 21, 22, 197, 242 magical interaction, 89, 169 magician’s curtain, 141, 142–145 Magus, The, 58 Majestic, The, 30n11, 38, 46n12, 69, 104, 220, 224, 226, 227 make-believe, 9, 35, 64, 142, 268 Malaby, Thomas M., 11 Manhattan MegaPUTT, 13, 86 307 index Manhattan Story Mash-Up, 34 Marathon, 47, 62 Mario Question Blocks, 207, 209, 211, 271 marketing, 28, 187–188, 219–230 Masquerade (book), 36, 37, 46n10, 54, 62, 103, 125, 203, 243, 261 Masquerader, 261, 273 massively multi-player online role-playing game; MMORPG, 65, 70n10, 114, 153, 158n8 Matrix, The, 30n4, 40, 58, 259 Maxwell, Elsa, 32, 33, 67, 208, 213n8 Mäyrä, Frans, 155, 257–278 McGonigal, Jane, 6, 17, 22n6, 28, 46n2, 123, 143, 201, 206–207, 260 media jammers, 254 mediation, 20 Memento, 51n2 Meridian, 59, 65 Metacommunication, 8, 11, 20, 22n1, 267, 268, 272 Metal Gear Solid, 243 Metrophile, 135 Microsoft, 27, 68, 84 Middle-Earth, 28, 241 Midnight Madness, 49, 67–68, 253 Milgram, Stanley, 212n2 miniature war games, 64 minimalist role-play, 151–152, 159 Minority Report, 40 mirror world, 186 misrepresenting oneself, 261 mixed reality, 7, 40, 88–89, 134, 162, 231, 236–240, 249n2 MLSN Sports Picks, 100 mobile augmented reality, 89 mobile communication, 179–181 mobile phone, 179–190 Modest Proposal, A, 61, 258 Mogi, 177, 186 Momentum; Prosopopeia Bardo 2: Momentum, 37 Monopoly, 9, 14, 34, 270 Monopoly Live, 23n15 Montola, Markus, 3–6, 7–23, 22n7, 23n20, 25–30, 31–46, 46n9, 55–70, 69n6, 77–90, 97–110, 111–116, 116n1, 117–129, 129n1, 137–158, 159–162, 162n1, 174n3, 193–195, 195n2, 197–213, 212n1, 251–255, 257–278 Morrison, Grant, 59 move to play, 82–83 MTV’s The Real World, 254, 259 Multi-User Dungeon; MUD, 65, 69n9 Murray, Janet H., 155 My Man Godfrey, 46n5 308 Myst, 64 Mysterious Stranger, 62 Mystery, 25, 28, 30, 38, 62 Mystery on Fifth Avenue, 21, 33, 91–96 Mythical: The Mobile Awakening; Mythical, 181–182 N Nagamura, Lisa, 277n11 Narrative, 30, 100, 150, 158n9, 216 NetHack, 190n4 New Games Movement, The, 55, 56 N-Gage, 190n7, 223 Nieuwdorp, Eva, 10, 12, 22n7 Ninjalicious, 90n8, 198, 213n9 Nintendo, 75, 190n4, 222, 223, 224 NIT 2000, 208 Nokia, 179, 190n7, 223 Nokia Game, The, 38 non-player character; NPC; instructed non-player participant, 122 Norman, Donald A., 17 North, Alan S., 198 Nuisance, 205, 208 O obfuscation of consequences, 199 Ocular Effect, 30 Offence, 210 Oliver, Jamie, 219, 220 Omnifam, 39 onion model of participation, 205 optionality, 9, 261 ordinary context, 267, 270, 271, 272 ordinary life, 7, 97–98, 270 orienteering, 46n3, 82, 86 Örnebring, Henrik, 30n5, 39 P pace, pacing, 109, 154–155 Pacey, Arnold, 276 Pac-Lan, 40 Pac-Man, 40, 45n1, 86, 127, 131, 132, 133, 134 Pacman@Lyon, 134 PacManhattan, 40, 64, 86, 89, 127, 131–135, 274 paidia; paideic, 9–10, 15, 44, 45, 53, 57, 64, 65, 262, 266 paintball, 54, 74 Parann, Itamar, 200 paratelic, 107, 110n1, 277n18 Pargman, Daniel, 11 index parkour, 54, 75, 83, 200, 262, 271, 277n12 participant, 11, 18, 19, 23n11, 34–35, 60, 100, 117, 122, 125, 127, 128, 140, 141, 235, 271 passive play, 98, 108, 154 Pavlovin koirat, 211–212 Payphone Warriors, 135 Pedro and Me, 259 Peirce, Charles S., 23n20 Peitz, Johan, 175–177 Pelageya: Clarissie, 90n6 perceived world structure, 222, 226, 228 performance, 41–42, 49, 53, 56, 60 performative play, 119, 126–127 performing arts, 7, 59–61, 236 peripheral play, 98, 99 Perkins, Anthony, 67 Perplex City, 33, 84, 90n5, 121 persistent world, 7, 19, 65, 66, 102–103, 108, 188 Pervasive Clue, 69 pervasive game, 7–23 pervasive game (the definition), 12 pervasive game genres, 31–46 pervasive larp, 32, 35–37, 45, 64, 68, 102, 200, 203 pervasive play, 57, 156, 270–271 Petri, Elio, 66 photo scavenger hunt, 124 physical play, 84–86 Pillow Fight Club, 263 Piscator, Erwin, 236 play session, 14, 98, 176, 188, 252 player ethics, 198–203 player identification, 181–182 player-to-player interaction, 183–184 playful context, 267, 270, 271 playful mindset, 106, 107, 194, 270, 271, 272, 277n18 playful public performance, 40, 41–42, 45, 56 playing in public, 36, 56, 77–79 playtesting, 110 play while moving, 82 Podchody, 32 Poker, 62, 267, 271 Politics, 235–249 Pong, 238 Pop Idol, 277n7 Poremba, Cindy, 10, 124 positioning; positioning technology, 42, 88, 166, 180, 201, 231 possession model, 109, 112, 115 Post, Marjorie Merriweather, 92, 96 Posterchild, 207, 211 Postman, Neil, 267 postmodern; postmonernism, 247, 258 prepared locations, 80–81 presence, 181–184 pretence, 271–273 pretend; make-belief, 28, 35, 245, 259 pretending mindset, 271–272 pretending to believe, 260 primary framework, 11, 268, 269 Principia Discordia, 59 Prisoner Escape from the Tower, 273 privacy, 201 product-level typicality, 222–223 Project MU, 30, 40 projected identity, 260–262 pronoia, 122–123 Prosopopeia, 37, 80, 104, 115, 123, 169, 171, 174n6, 241, 243 protective frame, 16, 19, 57, 118 proximity recognition, 35, 184, 253 psychogeography, 262–263 public space, 54–58 publicly-created contribution, 239 Publius Enigma, 62 Punk’d, 229n1 puppet master, 64, 145, 146, 157n6, 274 Push, 39 Push, Nevada, 39 Puzzle, 28, 42, 47, 49, 50, 62, 67, 84, 85, 96, 121–122, 140, 170, 193, 251 puzzle hunt, 33, 46n7, 67 Q Queer Eye for the Straight Guy, 254 questing, 46n4 R rabbit hole, 27, 44, 62, 104, 194, 274 Radio Frequency Identification; RFID, 105, 172 railroading, 156, 158n7 rallying, 86 reader (of an ARG), 28, 69n9 Réage, Pauline, 69n7 Real Race, The, 253–254 reality fabrication, 20, 58, 199, 226 reality fiction, reality game, 44, 88–89, 195 reality television; reality tv, 128–129, 201, 254, 258–260, 277n22 reality tunnel, 243, 244 Receda Cube, 33, 46n6, 84, 90n5 Reclaim the Streets, 55, 79, 114, 265 309 index re-enactment, 54 ReGenesis, 39 replayability, 40, 149, 153 reverse graffiti, 264 REXplorer, 42–43, 164, 165, 215–217 rise of ludus in society, 266–267, 268 Rider Spoke, 59, 201, 236–240 risk, 205 ritual; ritualistic, 10–11, 114, 153 Rivera, Sylvia, 112 Rock Band, 266 role taking, 53, 109, 112 role-playing, 10, 35–36, 46n9, 64, 102, 108–109, 240–245 role-playing game (larp; live action role-playing game; theater style), 64, 65 role-playing game (table-top), 36 roller-skating, 83 Rose, Jessica, 259, 260 Ross, Herbert, 66, 67 Ruggeri, Laura, 78, 208 Rule, 10, 17, 34, 86, 108, 204, 210, 243–245, 254 rules of irrelevance, 18 Running Man, The, 58 runtime game mastering, 145–149 Russian roulette, 15 Ryan, Marie-Laure, 158n14 S Saarenpää, Hannamari, 56, 187, 288 Sadomasochistic play, 57 Sagdiyev, Borat, 277n13 sailboat racing, 86 Saint, The, 66 Salen, Katie, 7, 9, 10, 12, 22n2, 22n6, 46n11, 277n18 Salla, Jeanine, 25, 27, 144 Salla, Laia, 277n9 Sandberg, Christopher, 61 Sanningen om Marika, 23n10, 39, 88, 120, 129n4, 139, 146, 147, 204, 208, 259 Saro-Wiwa, Ken, 112 Sauter, Wilmar, 244 Savannah, 174 Scambaiting, 261, 277n10 scavenger hunt, 32, 34 Scen, 3, 44 Scenography, 113, 114 Schechner, Richard, 15 Schneider, Jay, 22n9, 69 Scotland Yard, 22n8 seamful design, 167–168 310 seamless life/game merger, 116n1, 144–145, 259 seamlessness, 114, 144, 145 Second Life, 65 secondary framework, 11 secret society, 57, 125, 203 Secretary, 69n7 secretive interfaces, 169–170 Seek Bou Journey, 218n2 self-reported positioning, 147 semiotic domain, 16, 17 semiotic transparency, 158n14 sensory immersion, 155 Sentient Machine Therapist, 25, 30n9, 119 Seppänen, Lasse, 90n2 serious mindset, 106, 194, 270, 271, 272 Seventh Victim, The, 3, 66 Shadowbane, 102 Shainberg, Steven, 69n7 Shakespeare, William, 69n1, 242 Sheckley, Robert, 3, 66 Shelby Logan’s Run, 47–51, 105, 138, 139, 201, 202, 206, 213n11, 274 short message service; sms; text message, 73, 75n1, 101, 109 Sierra Club, 86 silent rave, 263 Simpsons, The, 223 Simulation, 20, 22, 164, 238, 242, 266, 271 SingStar, 224, 266 site-adaptable games, 80 site-specific games, 80 Situationism, 54, 59 Skarped, Adriana, 259 Skateboarding, 54, 82, 226, 262 Sleator, William, 58 smart street sports, 40–41, 44, 45, 59, 149 Snake, 179, 243 social adaptability, 107, 110n2 social expansion, 14–17, 55, 88, 112, 117–129, 252–253 social play, 126–128, 153, 176 society, 266–267, 273–275 Solitaire, 57, 63, 156, 158n15 Sondheim, Stephen, 66–67 Songs of North, 83, 89 Sotamaa, Olli, 73–75 Space Wars, 156 Spacewar!, 156 spatial expansion, 12–14, 77–90, 117, 251 spect-actor, 23n11 spectator, 61, 125, 126, 128, 205, 253 Spielberg, Steven, 25 Spiricom Thomas, 194, 205 index SpyGame, 166 Squatting, 265 Stakes, 106, 108, 125 Stanislavsky, Constantin, 244 Star Trek: The Next Generation, 58 Star Wars, 153 Stenros, Jaakko, 3–23, 25–30, 31–46, 53–70, 77–90, 97–110, 111–116, 117–129, 137–158, 159–162, 164, 168, 174n3, 197–213, 235–249, 251–255, 257–278 Stewart, Sean, 25, 28, 30n3, 62, 103 Stone, Oliver, 58 story, 43, 61, 100, 140, 149, 150, 151 story; games telling stories, 149–150 street party, 54–55, 79, 209, 265 street theater, 59, 262 stress, 7, 16, 106–107 struggle over public space, 262–265, 268 sumo, 8, 197 Super Mario Bros, 12, 14, 20, 206 Surfing, 82, 90n3, 157, 164, 262, 263, 275 surpassing expectations, 138–139 surveillance; monitoring, 81, 89, 114, 147, 148, 174n1, 201, 202, 231, 244 Survivor, 236, 255n7, 259, 271 suspenseful interaction, 170 suspension of disbelief, 142 Svahn, Mattias, 219–230 Swift, Jonathan, 61, 258 symbol; symbolic, 20, 23n20, 199, 215, 262 System Danmarc, 65, 269 Szulborski, Dave, 39, 62, 103 T tag, 13, 40, 172 Tag: The Assassination Game, 66 Takkar, 66 Tamagotchi, 98 Tan, Philip, 36 Tandavanitj, Nick, 236 tangible; tangibility, 97, 125, 273 Taylor, T.L., 22n6 technology-supported games, 164, 168, 172, 174 technology-sustained games, 164–167 telephone bingo, 56 telic, 107, 277n18 Templeton, Fiona, 59, 233, 236 temporal expansion, 14, 19, 53, 97–110, 117, 144, 229n2 temporally seamless games, 102 temporary autonomous zone; TAZ, 129n5 tertiary framework, 11 Tetris, 160, 181 Texas hold ‘em, text message, 38, 74, 100, 108, 109, 172, 180, 190n2, 231, 232, 238 Theater of the Oppressed, 59 this is not a game; TINAG, 27, 28, 63, 142–144, 220, 254 time capsule, 70n11, 99 tourism, tourist, 78, 215 traceur, 262, 277n12 traffic, 15, 16, 40, 83, 92, 133, 208, 265 trail, 66, 78, 151 train surfing, 83, 90n3, 262, 263, 271 transgression; transgressive, 126, 198, 208, 210, 263, 261, 271, 272, 275 trans-reality games, 66 Tre grader av uskyld, 139 Treasure, 33, 84, 166–167, 185 treasure hunt, 31, 32–34, 46n3, 46n7, 62, 67, 68, 84, 90n5, 119, 151, 185 Tremendous Adventures of Major Brown, The, 58 Truman Show, The, 58, 259 Tunick, Spencer, 79 Turkle, Shelly, 261 tutorial mode, 104, 105 Twister, 10–11, 124 U Ubik, 58 Ulmer, Dave, 33 Ultima Online, 65 unaware participant; unaware participation, 17, 19, 118–119, 120, 203–206, 208 unaware state, 118, 119 Uncle Roy All Around You, 43, 81, 88, 89, 164, 231–234, 239 Upkeying, 269 Uplink, 63 urban adventure, 69n5, 85 urban adventure game, 42–44, 45, 149, 217 urban exploration, 85–86, 90n8, 114, 198, 263 Urban Hunt, 104 user-created content, 239 V Vampire: The Masquerade; Masquerade, The (larp); Laws of the Night, The; Mind’s Eye Theatre, The, 36–37, 46n10, 103, 203 VanDeVeer, Donald, 205, 209 Vanishing Point, 84 Vem gråter, 21, 44, 193–195, 205, 206, 209, 212n1, 272, 274 311 index Verfremdungseffekt, 61 Verne, Jules, 58 viral marketing, 187–188 virtual content, 88, 89, 155, 163, 185, 186 virtual space, 86–89, 186, 241 virtual; vituality, 65–66, 86–89, 276 Visby Under, 43, 218n2 vQuest, 33, 40, 68, 103, 121, 138, 139, 146, 157n2, 169 W Waern, Annika, 117–129, 137–158, 163–174, 179–190, 193–195, 197–213 Walther, Bo Kampmann, 13, 22n9 Walz, Steffen P., 215–218 Wanderer, 83, 200–201 War of the Worlds, 204, 258 WarGames, 58 Weisman, Jordan, 62, 151 Welles, Orson, 204, 258 Welles, H G., 258 Werewolf, 153 Werkman, Rachel, 46n11 Whirling Dervishes, 263 White Road, The, 82, 118 312 Widing, Gabriel, 46n16, 195 Williams, Kit, 62 Wilson, Robert Anton, 243, 245, 249n4 Winfrey, Oprah, 259 Wing Commander, 64 Winick, Judd, 259 wireless communication, 69, 163 wireless local area network, wlan, 167, 185 World of Warcraft, 10, 23n18, 65, 88, 102, 114, 158n8, 266 World Without Oil, 236 Wright, Will, 238 X X-Files, The, 58, 260 Y YOU - The City, 59, 152, 236 YouTube, 223, 239, 260, 261 Z Zimmerman, Eric, 7, 9, 10, 12, 22n2, 22n6, 46n11 zombie walk, 263, 264 Zork, 65  ... games, alternate reality games, ambient games, appropriative games, augmented reality games, big games, brink games, context aware games, crossmedia games, geogames, hybrid games, immersive games,. .. invasive games, location-based games, locative games, massive games, mixed reality games, mobile games, pervasive games, reality games, supergames, total xix introduction games, transreality games,. .. Switzerland xvii Introduction We love games We love board games, party games, role-playing games, digital games, online games, and all kinds of games We all had our first strong experiences of pervasive