I came across some additional information written by Mathias Fuchs about this project that raised a few more ideas worth quickly sharing.

Fuchs discusses the power and nature of games and how they approached the purpose of the project.

“Umberto Eco proposed to investigate certain works of literature as ludic machines. These texts would work as structural units, whose purpose is, to get the reader involved in a game of words. The activity of reading would therefore resemble the process of playing a game – as opposed to the more teleological task of understanding a story. It seems that computer games, too, can be understood either as narrative devices or as ludic machines”

“Ludites state that the act of playing the game is an activity which is often driven by joyful improvisation. Especially when the elements of chance and vertigo… are predominant in a game, there is no need for a narration. Throwing the dices or going on a roundabout are such games. New media in general and computer games in particular inherited the twofold nature of games. They contain narrative aspects and ludic aspects at the same time.”

“When we started working on a computer game about Viennese museums we visited many museums and tried to find out what a museum-goer is actually doing. Does he learn about a scientific field? Is he led by a narration? Does he randomly drift through halls and have his eyes wonder around amongst miraculous objects? Does the visitor always want to keep a sense of orientation? What is the potential use of loosing  orientation? Is predictability the death of the marvel?”

A few quick responses – I’d say that narration and play aren’t mutually exclusive and narration offers motivation to progress through the game by bringing greater emotional connection. (Not always of course)
I like the term “joyful improvisation” – it seems to embody the concept of “play”

“Even though the virtual museum “Expositur” tells about objects and processes, even though there is a semantic framework and an underlying logic structure our knowledge space leaves ample room for alternative readings, it encourages the user to define their private paths away from the main roads. It requires the visitor to set up his personal speed, pace and rhythm for the access to information, for contemplation and for sheer surprise”

Contemplation/reflection is also something I haven’t thought much about yet – this I guess slots well into constructivist approaches (as do large chunks of this project even though I choose to associate it more with cognitivist theory given the deliberate designing of information to be more processable. )

On the homepage of this section of this website is a nice summation of the intent of this project:

fuchs-eckermann: ‘We are looking for something which Friedrich Nietzsche labelled “Gay Science”, ["Fröhliche Wissenschaft"] a mode of experiencing knowledge in a joyful as well as thoughtful manner. Nietzsche thought that you can only come across important insights if you discover them when “dancing”. And that’s precisely what the users of our computer game have to do. They have to move in order to find out facts, they have to dive and swim to get deep into certain areas of knowledge and they have to dance around to discover unexpected aspects of a topic.’

Following this methodology, the user of the virtual museum has to jump into a water zone in order to hear about the extinction of an ancient fish once populating the Danube River. The user has to operate triggers and barriers to learn about the dangers of machinery provided by the Technical Museum. Or he/she has to walk to down a spiral staircase to reach the hall of Sigmund Freud’s subconsciousness ["Die Traumdeutung"]

An alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants’ ideas or actions.

The form is typified by intense player involvement with a story that takes place in real-time and evolves according to participants’ responses, and characters that are actively controlled by the game’s designers, as opposed to being controlled by artificial intelligence as in a computer or console video game. Players interact directly with characters in the game, solve plot-based challenges and puzzles, and often work together with a community to analyze the story and coordinate real-life and online activities. ARGs generally use multimedia, such as telephones, email and mail but rely on the Internet as the central binding medium.

There is a new game in the field apparently, tied in to the Terminator based tv series The Sarah Connor Chronicles. It revolves around a revolutionary new type of camera which can photograph events from 1191 days in the future.

This video that I found on Boing Boing sets the scene

This “rabbit-hole” takes you on to the website for the company which is developing the camera – EniTech Research, where you can find more videos and presumably more ways of playing the game. (I haven’t looked into it yet)

Slightly off topic, I’ve been thinking about other options for “real-world” gaming – having a bit of a fascination with the sport of cyclogaining (a derivative of rogaining), which is kind of like a big bike based treasure hunt.

I was thinking (having been influenced by the mobile-obsession of my friend and colleague Len that an addition to this might be to introduce some element of hunting your competitors by setting up a shared Flickr account and having everyone photograph the opposition on mobile phones and uploading these to Flickr. This would give a time-stamp of who got their pix up there first and thus who got the “kill”.

Haven’t really finished thinking that through yet but I reckon it has promise.

I’ve mentioned games using Guitar styled interfaces before – Fret Nice being one example and the entirely awesome Guitar Hero series of course being another.

Guitar Rising looks like it may well take this a step further with PC based software that enables you to plug your actual electric guitar into the soundcard of your computer and play along with songs that appear on screen. This would function similarly to Guitar Hero in tracking the notes you hit (somehow) in relation to the note symbols that appear in the game window.

Now sure, serious musicians already have the option of hooking up midi interfaces to their computers if they want to record but this seems like a great opportunity to access realtime feedback about your playing that I’ve never seen before. By adding gameplay mechanisms to the mix as well, it takes a learning tool into the fun zone.

It’s due for release later this year.

My feeling with games in education is that it’s important to actually get out there and play them to understand best how the elements that make them so engaging actually work.

Having done the Portal thing, I was ready to move on to other games in The Orange Box on the weekend and given that I’d (finally) managed to get hooked up on Xbox Live, the online platform for playing Xbox games with nerds from around the world, it seemed like the thing to do was to jump into Team Fortress 2.

(Yes I realise that it was a nice sunny weekend, I was just excited about being able to connect the 360 to my computer and also the web for the first time)

So anyway, TF2 is an online only game which looks a lot like something out of The Incredibles. It consists of 6 locations (or maps) divvied up between a red and blue team of up to 8 people each. There are a few variations on the missions involved – either to capture territory markers by standing on them for long enough or to break into the other team’s base and steal a briefcase full of intelligence. (All the while trying to blow nine kinds of crap out of your opposition with your various weapons.)

I had hoped to be able to play the game offline separately first, giving me a chance to wander around the maps and get an idea of where to go. This not being an option, the best bet was generally to just follow the other guys as they hare into the other base – although I did realise later than some of the maps have gigantic flashing arrows in your colour that tell you where to go. (But it’s easy to miss the subtle things

I’d heard horror stories of people playing Halo 3 having to deal with snotty 13 year olds pouring out unimaginative streams of invective, generally involving the words fag and dick, on Xbox Live, so I was mildly wary of putting on the headset (which allows you to chat to anyone on your team) but all was fine. Given that it was daytime, I think I was mainly left with the older stoners in the U.S playing in the small wee hours, when the bratz are in bed – or maybe this game inspires a higher level of classiness.

What I got instead was mostly the usual chatter you hear in networked games – there’s a spy in the base, I need a medic, I’ve set up a turret/someone take out their turret, etc. There were the occasional exuberant cries of “did you see that – I’m a god” from time to time as well.

Is it overly sad that this reminded me of some research into games in education that looked at the way that players help new players learn and that these kind of online gaming experiences foster the development of collaboration skills?

This is what the game actually looks like.

I had been expecting this kind of online gameplay to absolutely chew through my broadband download allowances but all up I think it only used around 70Mb for a solid 3 or 4 hour session – peanuts really.

Lots of fun – moreso now that I’m getting more familiar with the maps and actually manage to live longer than the time it takes me to walk out the door of our base.

If you’re on Xbox Live and feel like a game, just say hi to me – Singo the Dingo.

I went out and treated myself to an Xbox 360 during the week and based on the growing mountains of praise, the first game I bought was the Valve bundle The Orange Box. This includes Half-Life 2, a couple of extra HL2 episodes, Team Fortress 2 and most importantly of all, the game I’ve been hearing oodles about, Portal.

This is quite simply one of the most brilliant, entertaining and enjoyable games I’ve ever played. It’s not a long game – I got around 8 hours of gaming out of it but every moment is better than the last. It’s set in a slightly futuristic lab complex where you are asked by a friendly sounding computer voice to complete a series of puzzles using a portal gun that you use to move between otherwise unreachable areas.
If you complete the tests, there is the promise of cake at the end.

This video should give you the gist of how this works.

The writing of this game is simply superb – your only interaction (as it is) is with the computer voice running the tests and some other robots along the way. There is a bitingly dark and funny edge to the whole experience which grows the further through the tests you get – a very corporate “you’re very important to us but this test will probably kill you” kind of thing. The strength of the computer character goes to show how important this is in making a good game.

The puzzles themselves get progressively more mindbending and force you to think about using space and physics in your environment in ways I’ve never had to before in a game. (Not that you need to be a science nerd or anything).

Most of all, it’s just a lot of fun and even the end credits are entertaining, with a specially written song by the computer that sums everything up nicely.

It’s not surprising that this game is popping up at the top of best games of 2007 awards all over the shop.

Best of all, I haven’t done the bonus levels yet.