Alternate Reality Game - Basic Design Principles of ARGs

Basic Design Principles of ARGs

ARGs are sometimes described as the first narrative art form native to the internet, because their storytelling relies on the two main activities conducted there: searching for information, and sharing information.

• Storytelling as archaeology. Instead of presenting a chronologically unified, coherent narrative, designers scatter pieces of the story across the Internet and other media, allowing players to reassemble it, supply connective tissue and determine what it means.
• Platformless narrative. Stories are not bound to a single medium, but exist independently and use whatever media is available to make itself heard.
• Designing for a hive mind. While it might be possible to follow games individually, designs are directed at a collective of players that share information and solutions almost instantly, and incorporate individuals possessing almost every conceivable area of expertise. While games might initially attract a small group of participants, as the participants come across new challenges they try to find others with the knowledge needed to overcome an obstacle.
• A whisper is sometimes louder than a shout. Rather than openly promoting games and trying to attract participation by "pushing" it toward potential players, designers attempt to "pull" players to the story by engaging in over-the-top secrecy, have elements of the game "warn" players away from them, and eschew traditional marketing channels. Designers do not communicate about the game with players or press while it is in play.
• The "this is not a game" (TINAG) aesthetic. ARGs themselves do not acknowledge that they are games. They do not have an acknowledged ruleset for players; as in real-life, they determine the "rules" either through trial and error or by setting their own boundaries. Narratives present a fully realized world: any phone number or email address mentioned works, and any website acknowledged exists. Games take place in real-time and are not replayable. Characters function like real people, not game pieces, respond authentically, and are controlled by real people, not by computer AI. Some events involve meetings or live phone calls between players and actors.
• Real life as a medium. Games use players' lives as a platform. Players are not required to build a character or role-play being someone other than themselves. They might unexpectedly overcome a challenge for the community simply because of the real-life knowledge and background they possessed. Participants are constantly on the lookout for clues embedded in everyday life.
• Collaborative storytelling. While the puppetmasters control most of the story, they incorporate player content and respond to players' actions, analysis and speculation by adapting the narrative and intentionally leave "white space" for the players to fill in.
• Not a hoax. While the TINAG aesthetic might seem on the surface to be an attempt to make something indistinguishable from real life, there are both subtle and overt metacommunications in place to reveal a game's framework and most of its boundaries.