Other Games
The “other” category contains all games that do not easily fit under any other category. This includes card games, scavenger and treasure hunts, alternate reality games or ARGs, and social games. As varied as these games might be, each contain the opportunity for engaging young patrons and introducing them to new kinds of literacy.
Research
While most of these games will seem familiar, ARGs require a bit more explanation. There are several different definitions, however the website ARGology.org provides a concise definition:
Alternate Reality Games (ARGs) tell stories through narrative elements that are distributed across various platforms. These game variables are carefully concealed from players until appropriate moments determined by the game designer(s). Game play involves players working collaboratively through email, phone/sms contact, real-time interactions and extensive online engagement. Players generally react to narrative cues that are projected across numerous forms of media. These include media technologies that are not traditionally associated with games that, unlike ARGs, rely on a single platform for communication (eg console games). In doing so, ARGs make players step outside the restrictions of mono-genre game boundaries.
Instead of requiring the player to enter a fictional game world, ARG designers attempt to enmesh the game within the fabric of the player’s real world by harnessing as many media technologies and interfaces as possible. By doing so, ARGs expand the frame for the game beyond the computer monitor or television screen, effectively making the entire world the “game board.”
Nicola Whitton's paper, Alternate reality games for developing student autonomy and peer-learning, explains that while ARGs might not appeal to everyone, those who play become extremely involved and engaged with solving clues and figuring out the story. ARGs are also collaborative and provide context and purpose for activity. Unlike video games, the players themselves are the main characters, building a community around the game, influencing its outcome, and learning the technologies necessary to complete their objectives.
Alternate Reality Games (ARGs) tell stories through narrative elements that are distributed across various platforms. These game variables are carefully concealed from players until appropriate moments determined by the game designer(s). Game play involves players working collaboratively through email, phone/sms contact, real-time interactions and extensive online engagement. Players generally react to narrative cues that are projected across numerous forms of media. These include media technologies that are not traditionally associated with games that, unlike ARGs, rely on a single platform for communication (eg console games). In doing so, ARGs make players step outside the restrictions of mono-genre game boundaries.
Instead of requiring the player to enter a fictional game world, ARG designers attempt to enmesh the game within the fabric of the player’s real world by harnessing as many media technologies and interfaces as possible. By doing so, ARGs expand the frame for the game beyond the computer monitor or television screen, effectively making the entire world the “game board.”
Nicola Whitton's paper, Alternate reality games for developing student autonomy and peer-learning, explains that while ARGs might not appeal to everyone, those who play become extremely involved and engaged with solving clues and figuring out the story. ARGs are also collaborative and provide context and purpose for activity. Unlike video games, the players themselves are the main characters, building a community around the game, influencing its outcome, and learning the technologies necessary to complete their objectives.
Successful Programs
This section contains examples of successful programs of all types. While it is impossible to comprehensively list all games, our hope is that these examples will foster creativity and help libraries to plan their own unconventional games.
- 1KBWC, or 1000 Blank White Cards, was developed by Nathan McQuillan after he saw a box of 1000 blank cards on sale at a coffee shop. ALA Connect suggested this game for libraries in September 2009. The game is essentially created by the players. Every session starts with a prologue, where players write or draw instructions on cards in the space of fifteen minutes. The prologue can be longer if a new deck of cards is started. The new cards are shuffled into the old deck. Five cards, more or less, are dealt to each player. The play moves clockwise, with each player taking a card and then playing a card. The cards can have any effect; they can be played on another player, on another card, give points to the player, as an instant effect, and more. While taking extra cards is discouraged, creation of cards during play is encouraged. Some versions of the game include a box to keep unwanted cards rather than destroying them. With an operating cost of a few dollars at most and limitless chances for players to exercise their creativity, this game allows patrons to create something lasting for the library as well as have fun at the same time. Instances of the game can be found at http://1kbwc.gemini6ice.com/, http://www.1000blankwhitecards.com/ and http://singlenesia.com/games/1kbwc/.
- Find Chesia was a ARG developed by volunteer teenagers at the Carroll County (MD) Public Library in the summer of 2009. It took over a year to develop and was open to all teenagers participating in the summer reading program. The Carroll County Public Library simplified the definition of an ARG to “a game played online and in the real world, where players solve puzzles, collect clues and objects, and ultimately find out about the mysterious Chesia.” While the goal of the players was to find Chesia, the librarians involved were more interested in “the interactive story element and the promotion of technology literacy.” The creators, or “puppet master team” wrote the story, built the websites and blogs, uploaded videos to YouTube, interacted with players on Twitter, and created podcasts and other media.
- Blood on the Stacks is another example of an ARG, developed at Trinity University. It ran for two years and was used to orient new students to the Trinity University library. Every new student received an email with a link to the introductory video. There were also flyers in the dorms, and the program was mentioned at general orientation. Each dorm’s Resident Mentors, or RMs, instructed and guided the students in solving clues to figure out who stole a missing Egyptian artifact. The clues involved exploring the many facets of the Trinity University library, including the stacks, online resources, study help, and so on. A cash prize provided incentive for teams to complete some extra credit questions after the main objective was attained. The cash was used for a study break during midterms.
- The Topeka and Shawnee Public Library created a Big Read Scavenger Hunt using Quick Response or QR codes. The game ran from October 1, 2010-October 31, 2010. Users had to use their smartphones to decode the QR codes around the city. The contest included five clues at different locations and required patrons to determine the final answers.
Advice
A successful library scavenger hunt will require collaboration not only with other librarians but with teachers as well. The scavenger hunt should not only show the parts of the library, but specific resources that might be helpful to students for their school work. The paper The library scavenger hunt strikes back: teaching "library as place" also suggests that the assignment should be clear and simple to understand, with relevant clues and teams to make the hunt competitive. The scavenger hunt should involve both online and physical resources, and a guide should be developed to remind students of the skills they have learned during the assignment. A map should be included as well, perhaps with numbers instead of names to make the hunt a little more difficult. It should last longer than one class session so that the hunt does not feel rushed.
A successful ARG will emphasise the fact that it is not a game. The Puppet Masters should remain hidden or undisclosed until the end of the game. There should be a place where players can share ideas and clues to create the sense of community--an online forum, for example. Also, the game should be flexible enough so that changes can be made on the fly if necessary. Sean Stewart, co-creator of some of the first ARGs, describes this as "[giving] up power without control." He provides examples of characters in his ARG like the Sleeping Princess, who only spoke in phrases from emails that players had sent in, and the Red King, originally created as a throwaway character. After extreme player interest in the Red King, Stewart and the other developers "threw up [their] hands and started writing about him, more and more." This flexibility makes users feel like they are affecting real change and increases feelings of engagement.
A successful ARG will emphasise the fact that it is not a game. The Puppet Masters should remain hidden or undisclosed until the end of the game. There should be a place where players can share ideas and clues to create the sense of community--an online forum, for example. Also, the game should be flexible enough so that changes can be made on the fly if necessary. Sean Stewart, co-creator of some of the first ARGs, describes this as "[giving] up power without control." He provides examples of characters in his ARG like the Sleeping Princess, who only spoke in phrases from emails that players had sent in, and the Red King, originally created as a throwaway character. After extreme player interest in the Red King, Stewart and the other developers "threw up [their] hands and started writing about him, more and more." This flexibility makes users feel like they are affecting real change and increases feelings of engagement.
Page edited by Ashley Rayner