The main purpose of this qualitative research was to discover the effects of problem-based learning on a fifth grade language arts classroom. The secondary purpose was to examine how receptive fifth grade students were to a new way of learning. In this descriptive study, a group of nine students created an alternate reality game as part of a problem-based learning module. The instructional design of the study included three weeks for students to design and construct their games and one week to play, receive feedback and revise based on feedback. Through reflective blogs, semi-structured interviews, video recordings, and observations, data was collected to analyze. Over a period of five months, the data was coded and arranged into categories. The categories merged into themes. The results and findings revealed the impact collaborative groups have on design and enjoyment. Self-regulation skills were found to be lacking in most of the students, intrinsic motivation increased for some students while others developed positive outcomes beyond the scope of this study.

Alternate reality games (ARG) are a relatively new type of game that distributes game content across several media without explicitly identifying that content as part of a game. While players benefit from this aesthetically immersive experience the type of game has the potential to cause confusion over the status of its dispersed content as real or as part of a game. This thesis offers a case study of the 2012 game. The case is contextualized within the disciplines of media studies and games studies, in a wider digital culture where the ubiquity of technology converges to user experience design. A theoretical framework based on Charles S. Peirce’s semiotic, supplemented by Erving Goffman’s frame analysis and James J. Liszka’s transvaluation theory is used to explain the ARG’s problematic relation to the experience of reality.

Alternate reality games (ARG) are a relatively new type of game that distributes game content across several media without explicitly identifying that content as part of a game. While players benefit from this aesthetically immersive experience the type of game has the potential to cause confusion over the status of its dispersed content as real or as part of a game. This thesis offers a case study of the 2012 game. The case is contextualized within the disciplines of media studies and games studies, in a wider digital culture where the ubiquity of technology converges to user experience design. A theoretical framework based on Charles S. Peirce’s semiotic, supplemented by Erving Goffman’s frame analysis and James J. Liszka’s transvaluation theory is used to explain the ARG’s problematic relation to the experience of reality.

Gamification is now a household word, but it remains at the top of the lists of emerging technology and expected trends for the future of instructional design. If this is true, how can we take gamification to a level beyond badges and points? This paper argues that narrative is a key element that has not yet been fully realized in gamification, reviewed through its prior successes in entertainment-education, game-based learning, project-based learning, and digital storytelling. It suggests that Alternate Reality Games may be the true future of gamification as we know it today.

Alternate reality games (ARG) are a relatively new type of game that distributes game content across several media without explicitly identifying that content as part of a game. While players benefit from this aesthetically immersive experience the type of game has the potential to cause confusion over the status of its dispersed content as real or as part of a game. This thesis offers a case study of the 2012 game. The case is contextualized within the disciplines of media studies and games studies, in a wider digital culture where the ubiquity of technology converges to user experience design. A theoretical framework based on Charles S. Peirce’s semiotic, supplemented by Erving Goffman’s frame analysis and James J. Liszka’s transvaluation theory is used to explain the ARG’s problematic relation to the experience of reality.

Alternate Reality Games (ARG) have been one of the first and most prominent viral marketing tools. In a dynamic marketing world, where new practices appear every other day and seemingly ‘old’ practices lose their appeal very quickly, Blizzard Entertainment – a leading video game developer – gained much attention regarding its marketing strategy promoting the release of a new playable hero called ‘Sombra’ for their online game Overwatch, which is the third most-played game in the world with over 20 million unique users. For the campaign, the publisher used in-game hints as well as short clips with further hints (such as ASCII algorithms and hidden QR codes), which had to be decrypted by the users. This virtual scavenger hunt even included seemingly real websites of fictional companies with telephone numbers that could be called leading to further hints. In this paper we take a closer look at this particular campaign that has been praised internationally for its marketing both pre- and post-release. However, parts of the Overwatch community have complained on various online platforms about numerous aspects of the ARG experience. The paper serves two main purposes. Firstly, we explore the ARG participants’ experiences in terms of their customer satisfaction. Secondly, from a theoretical viewpoint, we investigate the applicability of the expectancy disconfirmation theory in this particular case. Thus, this paper may assist future ARG developers in creating engaging content by providing insights concerning the satisfaction of its participants. [... from the introduction]

Alternate reality games (ARG) are a relatively new type of game that distributes game content across several media without explicitly identifying that content as part of a game. While players benefit from this aesthetically immersive experience the type of game has the potential to cause confusion over the status of its dispersed content as real or as part of a game. This thesis offers a case study of the 2012 game. The case is contextualized within the disciplines of media studies and games studies, in a wider digital culture where the ubiquity of technology converges to user experience design. A theoretical framework based on Charles S. Peirce’s semiotic, supplemented by Erving Goffman’s frame analysis and James J. Liszka’s transvaluation theory is used to explain the ARG’s problematic relation to the experience of reality.

The Global Village Playground (GVP) was a capstone learning experience designed to address institutional assessment needs while providing an integrated, contextualized, and authentic learning experience for students. In the GVP, students work on simulated and real-world problems as a design team tasked with developing an alternate reality game that makes an impact on the United Nations Millennium Development Goals. The purpose of this study was to evaluate the effectiveness of the design of the GVP as a capstone experience. The research design follows a qualitative case study approach to gather and analyze data collected from the instructors and students participating in the pilot implementation of the GVP. Results of the study show predominantly favorable reactions to various aspects of the course and its design. Students reported to have learned the most through interactions with peers and through applying and integrating knowledge in developing the alternate reality game that was the central problem scenario for the course. What students demonstrated to have learned included knowledge construction, social responsibility, open-mindedness, big picture thinking, and an understanding of their relationship to the larger society and world in which they live. Challenges that resulted from the design included the amount of necessary to build consensus and then develop an overarching game concept, the tension between guided and directed instruction, and the need to foster greater interdependence among students while encouraging them to become more self-directed.

This dissertation presents the essence of the experience of instructional designers and instructors who have used alternate reality games (ARGs) and transmedia storytelling (TS) for teaching and learning. The use of game-like narratives, such as ARGs and TS, is slowly increasing. However, we know little about the lived experiences of those who have implemented such transmedia experiences in formal or informal learning. The data consists of written transcripts from interviews with 11 co-researchers in the United States and Europe. Phenomenology was the guiding methodology. The study begins by reviewing storytelling and the use of games in learning, leading up to exploring the tradition of using ARGs and TS in learning contexts. The analysis was one of reduction leading to codes, summary stories, themes, and the essence of the experience. Co-researchers used many techniques to enlighten their learners including problem-solving, critical thinking, collaboration, encouragement, disruption, and connection-making. When successful, connection-making facilitates learner agency development by providing learners with the power to act by their own initiative. Action came through the communicated narratives and games that closely tied to real-world problems. In the context of these efforts, this study's co-researchers emerged as educational life-world learning-coaches, "sensei", who were each using strategies and techniques to move students toward meaningful real-world learning and the ability to make a difference in the world. The dissertation closes by exploring implications of this study for instructional designers and instructors interested in using alternate reality games and transmedia storytelling for teaching and learning purposes.

For my thesis project for the Masters of Fine Art in Film and Digital Media, I designed and produced Evelyn Offscreen, an alternate reality game (ARG) that was facilitated by interactive performance. The goal was to create an interactive experience that allowed several players to collaboratively create story across numerous media within the field of alternate reality gaming. The approach used in Evelyn Offscreen was intended to provide a degree of creative freedom to the players that has not been demonstrated in other ARG experiences and to use digital media to capture information about the relative effectiveness of the different techniques that were employed. During the month of October 2009, Evelyn Offscreen invited players to participate in an overarching story as characters. The game existed simultaneously through several media platforms such as Ning, twitter, and blogger as well as scenes located in Central Florida where players could embody their character in a real world setting. The results revealed insights into techniques for massive collaboration of story and player reactions to this hybrid form of alternate reality gaming and interactive performance.