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Panel notes:

- History Unwired -

Neighborhood in Venice

Travel guide, veers into film and multimedia

Organized into “Characters” and “Paths”

Hear character steps
Video of individual characters telling stories
Some interactive elements: interior tour of a building you can’t enter in reality
“The more you explore, the more intimate it gets” – movement into people’s homes, private spaces
Building in a timer (sensitive to location) – you get 30 minutes, but the more you explore the more time you have

Tech Specs:

Delivered on PocketPC right now, planned to port to mobile phones

User testing

Interaction b/w virtual and real (people running into locals in person whom they’ve seen virtually)
“Local explorers” – people who try to race through as fast as possible

- Digital Street Game -

Michele Chang, Intel

Interested in “mobile culture in the space of urban environments”

Use of a game as a way of exploring mobile practices

Location-based game accessible by web

Goal is to take over as much turf as possible by “tagging” street intersections with “stunts”
Stunts: “Actions”, “Objects”, “Themes”

Questions:

Hybrid spaces
How to design a game in which participants are actually engaged
How do people in different cities react to same task?

Effortful play: some players used tasks to jump into self-directed play (that might last for hours)

Audiences: lists of registered players, tools for facilitating connections between players

Lessons:

Create systems that account for user creativity
Conversational Design
Physical and Social design constraints

- Harvey Smith -

Comes as games from a more traditional writing/interactive narrative standpoint

Drawn to moral and social creativity enabled by games

“Deus X” (?)

Emergent gameplay dictates player’s path in a more “analog” way
First test: player played around on initial dock, chased a rat around, rolled a trash can around, etc. – User: “This is great”, Designer: “Play the game!”

Spaces that were created that were more mundane were more compelling to users

Key difference b/w embedded and emergent narrative: former is more interesting to “audience,” latter much more interesting to “player”

“Gaming platform of future will be handheld” (provided advances in tech)

- Wiley Wiggins -

Comes from film, traditional narrative

Early adopter of Nokia’s “Lifeblog“

Difference that mobile media brings is one of context, rather than content

Standard perspective on mobile media is almost like a “little TV you hang around your neck”

Sees killer app for mobile tech as documentary narrative

Format suffers from small screens, bad sounds – can overcome limitations with more interactivity

- Discussion -

We have to be careful about how much of a “free for all” we’re going to allow; it’s my tour that I’ve built – instinct toward controlling narrative rather than opening it up. [ME]

Wiggins thinks that you can have your cake and eat it too, sees games as an example.

Interesting to think about the use of game design as a lens through which to think of interactive mobile narratives; Epstein seems to be thinking about what he’s doing in a very different way, much more along traditional narrative methods.

Chang raises notion of “problem solving” as a key activity in the social space of a game…

Games shouldn’t just be diversions, they should engage people, connect people [WW]

Real benefit of mobile media is “enhancing where you are” [MC]

“Trying to design an interface you don’t have to look at too much”; use antireflective screen [ME]

Difference between “games” and “toys” is fundamentally that the former are structured around a narrative of some sort [HS]

Question: Who’s out there pushing the boundaries of storytelling and narrative using mobile media?

Swedish company (It’s alive?) with game targeting teenage girls
Steve Benford, Nottingham
Users who use game engines to create new experiences; large component of “The Sims Online” is creation of stories behind game screenshots.

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