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The Asian Media & Mass Communication Conference 2010 Osaka, Japan more media coverage. In the prelaunch period, renowned billionaires Bill Gates and Nathan Mhyrvold began taking an keen interest in geoengineering. In the weeks before the games launch, Iceland's volcano erupted spewing ash and sulphate into the atmosphere naturally mirroring the effect that was being artificially proposed in the narrative. In the launch week, flights across Europe were grounded and many newspapers reported on the volcano's effect as having a positive outcomes against global warming. The production team watched intently considering ways in which to incorporate these events into the Bluebird AR story. But as the real world and the game world grew ever closer, it was also key to maintain a balance; and a transparency, to ensure that the project did not appear too real, creating a “War Of The Worlds” like panic. However within the first week, the consensus across the games most reactive gameboard: that of Twitter, was clear: the protagonist Kyle Vandercamp was a fictional character within the ABC's experimental game; Bluebird AR. This spoiler debunk was retweeted repeatedly. While a few people expressed distress at the ABC's wilful deception, the predominant sentiment was disappointment that the game had so openly revealed its fictionality. The audience was upset that the game was not more deceptive and in turn more believable. In response, the production team decided that the character of Kyle Vandercamp should sent out a tweet denying his fictionality. This contradiction in messages created a feedback loop as while the evidence against this statement was overwhelming, the denial was enough of a wink for many in the audience to recognise the nature of the interaction being invited; to participate in the narrative “as if” it were real. By the second week and into the third, several participants were not only playing along with the narrative as though it were real, but were were actually contributing to the story's verisimilitude by uploading content that enforced the fictional narrative. Photos emerged of supposed in-game events that had not been created by the ABC. One industrious participant submitted an image of a “Stop Bluebird” banner being hung over the Sydney Opera House. This created an peculiar situation in which the ABC staff themselves briefly lost sight of the line separating the games reality from fiction. Staff questioned eachother over who had made the image and wondered if a players had themselves created it either in Photoshop or by actually scaling the Sydney icon, a possibility which raised yet new concerns. Eventually Greenpeace approached the ABC requesting that the image be taken of the website as it was adapted form one of their own interventions at the Sydney Opera House. The event was one of several in which the line between reality and fiction became blurred for the producers as well as the audience. In-game communication predominantly revolved around participation in the story: what clues meant? how to crack passwords revealing new clues? what were characters motivations? At a deeper level, an in-depth discussion of philanthrocapitalism and the pros and cons of geoengineering solutions were heavily researched and evenly debated. In additional, several robust meta game discussions broke out in which the game itself, the extent and nature of its fiction, and the project within the broader field of Alternate Reality Games and even the role ABC were addressed. While the story and interaction continued, it was in this manufactured town-square context that Bluebird AR achieved its goal. That of raising awareness and facilitating discussion of the subjects of philanthrocapitalism, geoengineering and Alternate Reality Gaming. Conclusion Ultimately there was no insurmountable challenges in creating and presenting the game. The 141
The Asian Media & Mass Communication Conference 2010 Osaka, Japan difficulty was balancing the manifold mechanics of the game's distributed narrative, the uncertainty of the parameters of its fiction, and the perceptions of the audience to both these factors. Encouragingly, both the ABC's legal and managerial staff and the organisations audience, showed flexibility in accepting and adapting to the many challenges that the game posed. It is hoped that in future projects, as literacy of Alternate Reality Gaming grows, the prerequisite guidelines to ensure against the confusion of reality and fiction can be either build more subtly into the game narrative, or discarded altogether, thereby enlivening the immersive experience. That said, were audiences to become entirely literate to the uncertain realities of such experiences, then these experiences would loose their risk , and surely in turn, their critical appeal. References: 1. Paul Chadwick, Editor. ABC editorial policies. 2007. 2. Antony Funnell, presenter, Future Tense, Bluebird AR, 2010. http://www.abc.net.au/rn/futuretense/stories/2010/2874678.htm 3. Alexis Madrigal, Wired Science, Q&A: Geoengineering Is ‘A Bad Idea Whose Time Has Come’, 2010. http://www.wired.com/wiredscience/2010/03/hacktheplanet-qa/ 4. Jane McGonigal, A Real Little Game: Performance of Belief in Pervasive Play, DiAGRA, 2003. 5. Robin McKie, Engineering a climate fix, Environment,2010. http://www.abc.net.au/environment/articles/2010/04/22/2880377.htm 6. Natasha Michell, Presenter, All In The Mind, Whistleblowing and the psyche: an anthropological perspective! 2010. http://www.abc.net.au/rn/allinthemind/stories/2010/2901944.htm 7. Markus Montola, Jaakko Stenros, Annika Waern, Pervasive Games, Theory and Design, Elsevier, 2009. 8. Senza Rimpianto, New Media, The Virtual and The False, The Truth About Marika, 2009. http://real.zachwhalen.net/content/truth-about-marika 9. Ken Sanes, War of the Worlds, Orson Welles, And The Invasion from Mars, 2008. http://www.transparencynow.com/welles.htm 10. Dave Szulborski , This Is Not A Game: A Guide to Alternate Reality Gaming, 2005. 11. Robyn Williams, Presenter, the Science Show, Geoengineering and Bluebird, 2010. http://www.abc.net.au/innovation/bluebird/prodnotesChallenges.htm 142
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