I’m in Boston for ARGFest-o-con, a conference for all things ARG. Later today I’ll be speaking about extending the media experience.

9:15 – 10:00 ARGs and Extended Media Experiences
Evan Jones, Moderator; Yomi Ayeni, Blair Erickson, Elan Lee, Lance Weiler, panelists

Alternate reality gaming and traditional media have always had an interesting relationship, and extended media experiences are an important part of the history of ARGs. This panel features experts in creating extended experiences for all types of media, including television, film, and video games.

There are so many exciting things happening in the independent gaming scene. It calls to mind what indie film was like in the mid to late 90’s, when technology became accessible and anyone with a camera and a story could make a film. Something that I find of particular interest is how gaming allows audiences the abitily to role-play and shape the storyworld as it evolves in real-time. This creates an organic two-sided conversation with the audience. Something that can build a strong tie between the people running the game and its players.

But when I discuss gaming with other filmmakers, I’ve found that there is confusion around the term. It tends to evoke images of first person shooters or franchises like Grand Theft Auto. In reality gaming is play and play is at its core a social experience. In fact there has been an exciting shift within the gaming industry as can be seen with experiential games like Rock Band, Guitar Hero, flOw, and Spore.

But that is within the console world. Lurking below the surface is a whole movement of people designing storyworlds. The tools for creating something like an ARG are basic and accessible. Back in 1996 when we launched the site for my first feature film, The Last Broadcast we created a fictional world that was presented as fact, a way for us to extended the world of the film. In a sense that was an ARG. With the release of my latest feature Head Trauma, we created a storyworld that involved an interactive graphic novel, physical comics, alternate soundtracks (that secretly lined up with scenes from the film), phone calls / text messages from characters and even a separate web series with subliminal clues that was related loosely to the film. (see Hope is Missing)

What I’ve learned from the creation of these storyworlds is that they mirror the way many people are consuming their entertainment. The fragmentation of the digital space is a perfect opportunity to tell stories in new ways. And I can honestly say it has presented me an interesting and cost effective way to reach and engage my audience. The gaming that I’ve done around Head Trauma has been experienced by millions of people – far more than it would have reached in traditional outlets.

Related:
ARGnet
Unficiton
ARGfest-o-con
Unvierse creation 101