I picked my way carefully. The speckled eggs were well Luzhou Map hidden too. And as I stared at the nests around me I became aware that hatching Luzhou Map was in process. Eggs were beginning to crack open, a gosling’s beak poked out of one, soon followed by his head. Then he paused for a moment to look around; while beside his egg another cracked wide, a golden downy gosling stepped out and sat down in the sun to dry his wet fluff. Cheeping noises began to fill the air.
Hybrid Reality Games
Hybrid reality games (HRGs) draw from urban games and LBMGs, transforming the city into the game canvas through player interaction in a physical space. However, the key difference is that HRGs have a 3D virtual world component that corresponds with the physical space. The shared game experience among multiple users is what creates the hybrid reality. As urban mobile gaming expert de Souza e Silva (with Daniel Sutko 2009) notes, hybrid reality games have three main characteristics: (1) they are mobile, (2) they are multi-user and (3) they create a new gaming spatial logic that circumnavigates physical and virtual spaces simultaneously. A pioneering group for HRG is Blast Theory. Key projects such as Can You See Me Now? and I like Frank were initiated at The University of Nottingham’s Mixed Reality Lab in 2001, and continued to be played in different contexts. Blast Theory forged ahead with state-of-the-art new media technologies in collaboration with the Mixed Reality Lab. More recently, and no longer working with Mixed Reality Lab, Blast Theory’s projects have involved less technological prowess, and have played up more of the serious dimensions of game play in terms of complicacy. In Blast Theory’s recent project entitled Ulrike and Eamon Compliant (2009), players become involved and compliant in an event in which someone supposedly dies. In this project, there is no such thing as an innocent bystander (or spectator). In Korea, INP took many of Blast Theory’s experimentation onto the streets of Seoul through their project at new media art centre, Nabi, called Urban Vibe (2006).
Finally there was Mogi, the first commercial HRG. Released in Japan and developed by NewtGames from 2003 to 2006, Mogi deployed mobile phones (keitai) equipped with GPS or cellular positioning. Using the player’s relative position in physical space to construct a game space in Tokyo, the aim of Mogi was to collect virtual creatures and objects, spread out in the city, with the cell phone, in order to form a collection. Players could collect these virtual objects and creatures when they were within 400 meters of them. Additionally, these collected virtual artefacts could be exchanged between players. In 2004, Mogi had
1.000 active users who paid just under two dollars a month to subscribe, amounting to over 70.000 objects collected and messages sent during the first year. While users could log in anytime, the hunt time’ generally occurred during the day, from 7am to 6pm, while the mail and trade peak occurred after 8pm (Licoppe and Guillot 2006; Licoppe and Inada 2006). In Mogi, the phoneur gameplay tactics help to rediscover the role of community in informing a sense of place. Now, this discussion turns to an example of second-generation LBS games through a case study in Shanghai.
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