Reality dating games online

The marketing for the 1999 movie The Blair Witch Project resembled ARGs in many ways (and some of its makers went on to create the 2005 Audi promotional ARG The Art of the Heist), expanding the world of the movie online, adding backstory, and treating the fiction as reality through real-world media such as fliers and a fake documentary on the Sci-Fi Channel.However, perhaps in part due to the subject material and the absence of overt metacommunications that this was fiction, it also resembles an internet hoax or attempts to create an urban legend.Subsequently, it is shaped by characters that are actively controlled by the game's designers, as opposed to being controlled by artificial intelligence as in a computer or console video game.Players interact directly with characters in the game, solve plot-based challenges and puzzles, and collaborate as a community to analyze the story and coordinate real-life and online activities.In 1997, a year prior to the release of the Douglas Adams' computer game Starship Titanic, The Digital Village launched a web site purporting to be that of an intergalactic travel agency called Starlight Travel, which in the game is the Starship Titanic's parent company.

Much of this scholarly interest stems from the evolving media ecology with the rise of new media.The One Game, a British television drama serial screened in 1988, was entirely based on the premise of the protagonist being forced to play an ARG (referred to as a "reality game" in the script).Due to the influence, the Beast exerted over the form of later ARGs and the willingness of its creators to talk about its development, its sources of inspiration are both particularly relevant to the evolution of the modern ARG and somewhat more verifiable than other possible antecedents.Reader-influenced online fiction such as AOL's Quantum Link Serial provides a model that incorporates audience influence into the storytelling in a manner similar to that of ARGs, as do promotional online games like Wizards of the Coast's Webrunner games.Other possible antecedents include performance art and other theatrical forms that attempt to directly engage the audience.

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They tend to be free to play, with costs absorbed either through supporting products (e.g.

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