- All (23)
- Web (9)
- Apps (2)
- Installations (3)
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DEVICE 6 plays with the conventions of games and literature, entwines story with geography and blends puzzle and novella, to draw players into an intriguing mystery of technology and neuroscience. Created by the Swedish developer SIMOGO, who also created the game Year Walk, DEVICE 6 is an incredibly original experience of interactive storytelling for iOS platforms.
In a 60’s universe, influenced by Soul Bass’ aesthetics and calligram (a poem, phrase, or word in which the typeface, calligraphy or handwriting is arranged in a way that creates a visual image), with MUD (multiplayer dungeon), the users evolve in a text-based virtual space in which they have to solve enigmas.
DEVICE 6’s ergonomics are perfect on every platform you play and the sound design enhances the immersion of the player in the story. This game really pushes further the way we think of the use of text in interactive design.
A fusion of graphic design, gameplay and literature, DEVICE 6 is an intriguing mystery of technology and neuroscience that tells the story of Anna’s strange awakening in a bizarre castle filled with puzzles and directions, and the secrets she discovers as she explores the island on a quest to get home.
DEVICE 6 is a fascinating experiment in how to reimagine reading and books. By using innovative and slick visual design, animation, and sound, SIMOGO takes a well-written story and transforms it into a unique multimedia piece. The app is a wonderful example of how text, animation, gameplay, and music can be brought together to create an entirely new experience. DEVICE 6 is an ambitious stab at the frontier of what interactivity and storytelling can do together, and serves as a vivid example of what original interactive narrative is, and what happens when such experiments are executed beautifully.
Type:Rider A simple game that takes you through a journey of exploration in the world of fonts and typography. You learn and discover in a simple, playful way: You need to guide full stop points as if they were balls through giant letters in different fonts, as if it was a mystery world.
It is classy and elegant. The gameplay is simple and easy to grasp. The visual style of the giant letters world is compelling. It is a quiet and quirky way of discovering an otherwise abstract world, that of typography.
The Emotional Arcade engages technology to allow people to play competitive games using their own emotions. The Arcade is an attempt to provide at least one space on the planet where unrestrained emotional outbursts are honored, and celebrated.
What are we if not our emotions? In a world that increasingly limits spontaneous emotional expression, the installation creates a space for personal revelation. It’s a chance to explore the patterns of feeling in a fun way. And everyone who plays gets a lollypop.
The introductory media presentation, entitled We Remember, is a soundscape of everyone’s 9/11 story, overlapping phrases and thoughts to create an audio collage of that day. Visitors hear multiple languages, demonstrating the global diversity of witnesses who shared the common experience of 9/11. These personal remembrances are each located on a world map, synced to an audio track, revealing the geography of collective witness. The museum exhibition exhibits and collects 9/11 remembrances and first person experiences, building a permanent archive of experiences from around the world.
This particular project presented many interesting and unique challenges, as well as incredible opportunities with technology and storytelling. Unlike most museums, this museum is meant to capture a single moment in history that was witnessed on a global scale. With the nature of the event of 9/11 not being quite yet history but also not current events, the gathering of all of these individual stories helps contribute to the understanding and meaning of 9/11 and its impact. By capturing the stories and experiences from the memories of people that day, we created a larger narrative of what actually happened that day.
The Cleveland Museum of Art had been challenged to grow new audiences to engage with Art and the Museum. Local Projects was tasked with growing new audiences through technology and created Gallery One, a suite of new experiences that transform the Art Museum experience. Visitors can explore digital versions of the artworks, gather ideas, and see the original context of the artworks. Visitors create their own works of art, and understand creativity through the art making, intuition, and play. Visitors can put their own bodies into the experience, matching poses with figurative sculptures, or browsing the collection by making different facial gestures.
This project was made possible by the enormous amount of experimentation and willingness to change the conventions of a typical art museum experience. While technology is often thought to distract, we were encouraged to use technology to enhance the works of art, to integrate it seamlessly, and provide a memorable experience. We were able to experiment with interfaces that allowed visitors of any age, with no advance knowledge, to walk up and interact with technology and the works themselves. The interactive technology that we created encouraged visitors to create and play, making the museum a universal experience for all.
The Guardian knew since day one that the NSA stories we've been reporting were going to need some type of treatment that explained them, as a whole, to readers. As they were reported, the stories are often necessarily technical, both legally and technologically. Because of this, and because of the way we've needed to report the story as we've gone through the documents, we wanted to create a piece that explained to readers what this meant specifically for them. So we set out to produce an interactive story that used all of the Internet's storytelling devices (video, interactive maps, charts, text and yes GIFS!) to tell the story of the NSA files in an accessible and relatable way.
I think it's an important project that we approached with innovative storytelling techniques. Many of the projects we've seen on the internet that have really gotten the interactive 'treatment' are feature stories that tell a compelling story. However, Decoded attempts to explain complicated matters of national security in a relatable, creative format. For that we're proud of the project.
The Washington Post graphics desk explored the part of the Potomac River known as Great Falls, in a beautiful and creative interactive feature. This part of the Potomac is deceptively dangerous, as it's not the white water that makes it so deadly. It's the dangers that lie below the surface that have cost lives. Through creative use of video, 3D and illustrations, the Washington Post shows us why this part of the river has claimed so many lives.
This graphic strikes a chord with me as a fly fisherman, and somebody who is familiar with the dangers of rivers. Through really gorgeous storytelling, the Post takes something that is difficult to 'see' – currents below the surface of water – and illustrates them in a compelling fashion. What I particularly value about this graphic is the combination of a really important story, with original and beautiful storytelling.
A shared platform where you can upload your own content for people to listen to, read or watch while at the same time making it free for them to use as raw material to mash up in any way they want.
hitRECord is interesting for its shared content platform and open source but also for how the creators clearly state the terms of agreement in an effort to fully recognize the shared value of authorship. It is candid and straightforward in its way of presenting the service and the simple fun of it all.
An interactive visualization of Wikipedia edits, in real-time: each edit is mapped as a circle accompanied by a string or bell sound. The color of the circle indicates whether an edit is made by an anonymous user (green), a bot (purple) or a registered user (white); while the bell sound signifies an addition to a Wikipedia entry, and a string sound signifies a subtraction; the page's title appears briefly in the middle of each circle.
This is quite simply one of the most beautiful things we've ever seen! But apart from that, we also love the fact that you can engage as much as you want with it: it's an intriguing visualization of worldwide knowledge and real-time activity that draws you into interacting with it. (What major addition was just made to the “highest grossing Filipino films” page? What kind of an edit war is happening right now over the “Maccabiah Sports” page?) And yet at the same time it's an absolutely mesmerizing visual and aural poem that you can just sit back, space out and enjoy.
All of which to say, we've both spent a lot of time staring into its depths...
As Ryan Green, the creator of the project describes it: That Dragon, Cancer is an adventure game that acts as a living painting; a poem; an interactive retelling of Ryan and his wife’s experience raising their son Joel, a 4-year-old currently fighting his third year of terminal cancer. Players relive memories, share heartache, and discover the hope that can be found in the face of death.
Full disclosure, we also happen to be making a short film, Thank You for Playing, about Ryan, his family and the process of creating this remarkable game.
The project hasn’t been released yet, but we’ve played a demo of That Dragon, Cancer, and seen early renderings of additional scenes. It’s a stunning and heartbreaking endeavor, incredible as much for its raw, emotional honesty, as for its surreal visual expression of the psychological impact of raising a child that is terminally ill. The project also demonstrates the emotional power of interactivity – we’ve watched people play the simple ten-minute demo, and it’s been remarkable to see the depth of emotion and empathy it engenders every time.
Cowbird is a participatory media project that asks its audience to tell stories about life, to become members in what is self described as a "public library of human experience". Lofty ideals indeed, but ...
Cowbird is a testament to simplicity on all levels, from what it asks of its creators to what it asks of its audience. From the way it looks, to the way it is built, to the stories it offers, to the connections it makes between these stories. And so often with simplicity comes truth.
Highrise in an epic multi-year, multi-platform documentary project about urban vertical living around the world created by Canadian filmmaker Kat Cizek and the National Film Board of Canada. It's amazing how few countries in the world don't have high-rises. It's also amazing all the different ways of perception that arise when we look at the world through the eyes of their dwellers.
Highrise is paradox of sorts. Over the years, it has shifted gears, adapted to opportunities, changed scope, but all the time remaining completely focused. There is not one piece that doesn't belong to one another, whether it exists as a web experience, physical installation, art show in public spaces, performance art, op-ed article. I also think it’s like punk rock, in that the perfect sense it makes, and its vitality, and its inherent simplicity has inspired many others to take up camera and/or keyboard and go down their own paths of interactive storytelling.
Gone Home is a story exploration video game set in 1995, in which the player plays Kaitlin Greenbriar, a 21-year-old college student who arrives at her family’s home in Portland after a year in Europe. Her parents and her sister are gone, and all there is a note from her missing younger sister, Sam, taped to the front door. We play to unravel the mystery.
Beyond the sheer delight of exploring such a well designed and rendered space, I found myself curious to discover the story through the physical objects. Like many compelling stories, the draw of this one is the familiarity and relatability of the story, and the sense of knowing yet not knowing one's family is made more visceral by the act of the player being the character rather than watching her. Gone Home gives a glimpse into the possibilities of great storytelling in gaming.
A self-proclaimed dystopian documentary thriller, Papers, Please puts you in the role of a nameless border guard for the fictional communist country, Arstotzka, checking immigrants as they enter the country and deciding who to admit, reject, and arrest among the asylum seekers, smugglers, diplomats, spies, and innocents.
Papers, Please is the most important serious game of last year, and one of the most important of all time. Its strong political message about the power dynamics of bureaucracy and security is potent, and it is elegantly tied to a challenging and aesthetically appropriate core mechanic. This makes it a good game. What makes it exceptional is that is also a profound exercise in ethical decision making, challenging the player to make tough moral choices and confront his/her own values.
WOW an Opera is the story of Milli Vanilli, the disgraced '90s German pop music duo, told as a Faustian bargain incorporating technology and music in a live experimental and non-linear format. Staged as an immersive experience, the opera combines elements of classical opera with a contemporary story.
Technology and physical space are leveraged seamlessly to create a truly immersive experience in this opera. The sheer ingenuity of using the raw materials of a very operatic narrative to create a brand new experience of opera is brilliant. Because the very heart of the duo's story involves the technologically-enabled ruse of lip-syncing, technology is a very natural player in the structure of the story, and the creators exploit that division between the production of music and the faux performance to great effect.
The ENJMIN, « L’École Nationale du Jeu et des Médias Interactifs Numériques » is the only public school in Europe specialized in interactive media and video games. Opened in 2005 in Angoulême in France, the goal of this school is to train students to become professionals of the video game industry. In December 2013, The ENJMIN School launched the « ENJMIN BUNDLE », a bundle of the most recent games created by students. And every game created by ENJMIN students since 2005 is soon to be found on this platform. What is tomorrow’s video game going to look like ? Who are the young game creators? The ENJMIN BUNDLE gives free and unlimited access to games created by its students. From PC games to tablet smartphones, Kinect or Sifteo Cubes, the ENJMIN BUNDLE is a good way to discover young developers trying to create new gameplays and digital experiences. The program of the school includes a six month internship. A lot of students are interns abroad, often in Canada, at Ubisoft Montreal. The ENJMIN school and specially the game bundle is a great place to find talented art directors, game designers, sound designers or production managers.
BlabDroid is making the world’s first documentary shot entirely by robots: Because people will reveal themselves to robots in ways they never would to strangers!
Beta is an open game world that allows players to easily play, create and share games. Play as Beta to learn how to use code to manipulate the world’s objects and properties using a simple programming language called CodePOP. Beta is designed for anyone 10 and up, with or without previous programming and design expertise. It is an immersive experience that allows players to straddle the line between gamer and developer.
Everyday Africa, a collection of images shot on mobile phones across the continent, is an attempt to re-direct focus toward a more accurate understanding of what the majority of Africans experience on a day-to-day basis: normal life. featuring numerous contributing photographers, the project is a response to the common media portrayal of the African continent as a place consumed by war, poverty, and disease.
I love the simplicity of this project, challenging the common media portrayal of the African continent as a place consumed by war, poverty, and disease. The project collects photographs taken on mobile phones across the continent using the hashtag #everydayafrica Simple, beautiful and a great example of using social media creatively.
Not one project but a collection of projects reflecting the breadth of imagination and creativity in the interactive documentary form. MIT Open Documentary Lab and their partners have done a wonderful job building a home for all these projects and giving us a space to reflect on where we have come from and where we are going.
Still one of my favorite projects and I wanted to include something from the NFB because I think we owe them so much for investing in this work and pioneering the field. I love the beautiful graphic design, evocative soundtrack and originality of Welcome to Pine Point. It was one of the projects that got me really excited about the potential for storytelling on the web.
Prison Valley is an investigative web documentary about the prison industry in the US. It explores Canon City, Colorado, 36,000 residents, 13 jails, with a local economy revolving around the incarceration of 7,735 people.
In this ever-changing interactive landscape, it is great to see some projects not getting older. Prison Valley, 4 years old, is definitely one of them. Yes the blog is not as active as it used to be, but the overall experience is still stunning. I would attribute this to the bold economic approach of the prison system, the code of the Road movie genre, the use of social media as a creative tool and the overall importance of story and user experience. The user actively participates in this journalistic journey, starting at the same motel where David Dufresne and Philippe Brault stayed, then deciding where to go, what to explore, and how to participate in the debate.
Kentucky Route Zero is a point and click adventure game in five acts about a secret highway. Conway, a truck driver, works as a deliveryman for an antique shop and travels the roads of Kentucky with his dog.
Described as a magical realist game, Kentucky Route Zero reminds me of a poem with its dark, evocative and mysterious atmosphere. But to me it’s first and foremost a theater play. The player acts as a stage director, controlling Conway’s character, choosing his actions and interactions with other characters, and selecting his dialogues by clicking on text boxes. Most of these dialogues have no impact on the adventure; while they are unnecessary to the action, they allow the player to develop his vision of the main character, to create the backstory and to contribute to the atmosphere of the play. The player shapes the story. In the first scene, a mise en abyme highlights the theatrical aspect of this five-act game. Conway witnesses people playing a “random” but “realistic” roadmap game and discussing the rule: “I don’t think you can win - it says on the box it’s a tragedy”. It's not the destination nor the action but the route that really matters.