Adam Drozd

Can you see me now

We present a study of a mobile mixed reality game called Can You See Me Now? in which online players are chased through a virtual model of a city by ‘runners’ (professional performers equipped with GPS and WiFi technologies) who have to run through the actual city streets in order to catch the players. We present an ethnographic study of the game as it toured through two different cities and draws upon video recordings of online players, runners, technical support crew, and also on system logs of text communication. Our study reveals the diverse ways in which online players experienced the uncertainties inherent in GPS and WiFi, including being mostly unaware of them, but sometimes seeing them as problems, or treating the as a designed feature of the game, and even occasionally exploiting them within gameplay. In contrast, the runners and technical crew were fully aware of these uncertainties and continually battled against them through an ongoing and distributed process of orchestration. As a result, we encourage designers to deal with such uncertainties as a fundamental characteristic of location-based experiences rather than treating them as exceptions or bugs that might be ironed out in the future. We argue that designers should explicitly consider four potential states of being of a mobile participant: connected and tracked, connected but not tracked, tracked but not connected, and neither connected nor tracked. We then introduce five strategies that might be used to deal with uncertainty in these different states for different kinds of participant: remove it, hide it, manage it, reveal it, and exploit it. Finally, we present proposals for new orchestration interfaces that reveal the ‘seams’ in the underlying technical infrastructure by visualizing the recent performance of GPS and WiFi and predicting the likely future performance of GPS.

The Frame of the Game: Blurring the Boundary between Fiction and Reality in Mobile Experiences

Mobile experiences that take place in public settings such as on city streets create new opportunities for interweaving the fictional world of a performance or game with the everyday physical world. A study of a touring performance reveals how designers generated excitement and dramatic tension by implicating bystanders and encouraging the (apparent) crossing of normal boundaries of behaviour. The study also shows how designers dealt with associated risks through a process of careful orchestration. Consequently, we extend an existing framework for designing spectator interfaces with the concept of performance frames, enabling us to distinguish audience from bystanders. We conclude that using ambiguity to blur the frame can be a powerful design tactic, empowering players to willingly suspend disbelief, so long as a safety-net of orchestration ensures that they do not stray into genuine difficulty.Mobile experiences that take place in public settings such as on city streets create new opportunities for interweaving the fictional world of a performance or game with the everyday physical world. A study of a touring performance reveals how designers generated excitement and dramatic tension by implicating bystanders and encouraging the (apparent) crossing of normal boundaries of behaviour. The study also shows how designers dealt with associated risks through a process of careful orchestration. Consequently, we extend an existing framework for designing spectator interfaces with the concept of performance frames, enabling us to distinguish audience from bystanders. We conclude that using ambiguity to blur the frame can be a powerful design tactic, empowering players to willingly suspend disbelief, so long as a safety-net of orchestration ensures that they do not stray into genuine difficulty.

MobiMissions: the game of missions for mobile phones

Mobimissions is a location-based pervasive social game in which players use camera phones with location-based capabilities to create, share and reply to real-world missions. Missions and their responses are defined by sequences of digital photographs and text annotations. Players create missions, search locations for available missions, create responses to and submit missions for others to find. They can visit a website to review and rate all missions and responses. Feedback from a trial involving 11 players over five weeks reveals patterns of play, preferred locations for play, the limitations of location-based play, and the need for greater social awareness and exchange. Future directions for such location-based social games are suggested.

The multimedia challenges raised by pervasive games

Pervasive gaming is a new form of multimedia entertainment that extends the traditional computer gaming experience out into the real world. Through a combination of personal devices, positioning systems and other multimedia sensors, combined with wireless networking, a pervasive game can respond to a players movements and context and enable them to communicate with a game server and other players. We review recent examples of pervasive games in order to explain their distinctive characteristics as multimedia applications. We then consider the challenge of scaling pervasive games to include potentially very large numbers of players. We propose a new approach based upon a campaign model in which individuals, local groups and experts draw on a combination of pervasive games, online services and broadcasting to take part in national or even global events. We discuss the challenges that this raises for further research.

Exploiting interactivity, influence, space and time to explore non-linear drama in virtual worlds

We present four contrasting interfaces to allow multiple viewers to explore 3D recordings of dramas in on-line virtual worlds. The first is an on-line promenade performance to an audience of avatars. The second is a form of immersive cinema, with multiple simultaneous viewpoints. The third is a tabletop projection surface that allows viewers to select detailed views from a birds-eye overview. The fourth is a linear television broadcast created by a director or editor. A comparison of these examples shows how a viewing audience can exploit four general resources - interactivity, influence, space, and time - to make sense of complex, non-linear virtual drama. These resources provide interaction designers with a general framework for defining the relationship between the audience and the 3D content.

Temporal links: recording and replaying virtual environments

Virtual reality (VR) currently lacks the kinds of sophisticated production technologies that are commonly available for established media such as video and audio. This paper introduces the idea of temporal links, which provide a flexible mechanism for replaying past or recent recordings of virtual environments within other real-time virtual environments. Their flexibility arises from a combination of temporal, spatial and presentational properties. Temporal properties determine the relationship between time in a live environment and time in a recording, including the apparent speed and direction of replay. Spatial properties determine the spatial relationship between the environment and the recording. Presentational properties determine the appearance of the recording within the environment. These properties may be fixed, dynamically varied by an application, or directly controlled in real-time by users. Consequently, temporal links have a wide variety of potential uses, including supporting post-production tools for virtual environments, post-exercise debriefing in training simulators, and asynchranous communication such as VR email, as well as providing new forms of content for virtual worlds that refer to past activity. We define temporal links and their properties and describe their implementation in the MASSIVE-3 Collaborative Virtual Environment (CVE) system, focusing on the underlying record and replay mechanisms. We also demonstrate applications for adding new content to an existing virtual world, and a VR post-production editor.

The Cooperative Work of Gaming: Orchestrating a Mobile SMS Game

This paper focuses on orchestration work in the first iteration of a mobile game called Day Of The Figurines, which explores the potential to exploit text messaging as a means of creating an engaging gaming experience. By focusing on orchestration we are especially concerned with the ‘cooperative work that makes the game work’. While the assemblage or family of orchestration practices uncovered by our ethnographic study are specific to the game – including the ways in which behind the scenes staff make sense of messages, craft appropriate responses, and manage and track the production of gameplay narratives as the game unfolds – orchestration work is of general significance to our understanding of new gaming experiences. The focus on orchestration work reveals that behind the scenes staff are co-producers of the game and that the playing of games is, therefore, inseparably intertwined with their orchestration. Furthermore, orchestration work is ‘ordinary’ work that relies upon the taken for granted skills and competences of behind the scenes staff; ‘operators’ and ‘authors’ in this case. While we remain focused on the specifics of this game, explication of the ordinary work of orchestration highlights challenges and opportunities for the continued development of gaming experiences more generally. Indeed, understanding the specificities of orchestration work might be said to be a key ingredient of future development.

Staging and evaluating public performances as an approach to CVE research

Staging public performances can be a fruitful approach to CVE research. We describe four experiences: Out of This World, a gameshow; Avatar Farm, a participatory drama; Desert Rain, a mixed reality performance; and Can You See Me Now?, a game that mixed on-line players with players on the streets. For each, we describe how a combination of ethnography, audience feedback and analysis of system logs led to new design insights, especially in the areas of orchestration and making activity available to viewers. We propose enhancing this approach with new tools for manipulating, analysing and sharing 3D recordings of CVEs.

Collaboratively Improvising Magic

We describe how a behind-the-scenes production crew managed participation in an on-line improvised dramatic performance in a shared virtual world that was broadcast to viewers. We introduce the approach of collaboratively improvising magic, where participants indirectly request interactions with objects through extended incantations, rather than manipulating them directly. Invisible stage-hands follow these participants around the world, monitoring their activities and granting requests when appropriate. We describe how this was realised in Avatar Farm, a two hour long improvised drama that involved four members of the public, seven actors and an extensive production crew. We discuss the provision of technical support within the MASSIVE-3 system to realise our approach. Empirical analysis of interaction in Avatar Farm illustrates some key issues. We see how participants weave accounts of technical problems into the narrative; how actors vary the pacing of the narrative to co-ordinate the timing of a local scene in relation to parallel scenes that are happening elsewhere; amongst other matters. We conclude with some general lessons from our approach for CSCW.