Players and Puppetmasters: Alternate Reality Games and Negotiated Consumer/Producer Relationships

Abstract

This article uses data gathered from interviews with game designers and a survey of a core group of 30 players to suggest that Alternate Reality Games (ARGs) allow media producers to develop a close relationship with consumers, prompting us to rethink previous notions of power in contemporary producer/consumer relationships. Discourse has moved from a resistant/incorporated dichotomy (Abercrombie and Longhurst 1998; Hills 2002) to the suggestion that fandom has become a normative mode of mainstream media consumption (Jenkins 2007). Theories of digital convergence and collective intelligence are often mobilised to argue for fans as empowered consumer collectives, increasing their ability to control decisions around their favoured media products (Jenkins 2006). Promotional ARGs are unique sites for studying this complex relationship. ARGs have been used since around 2001 to promote a number of films including A.I.: Artificial Intelligence (Steven Spielberg, 2001) and The Dark Knight (Christopher Nolan, 2008). They create a narrative mystery set in the world of the film which is broken down and scattered across the internet. Players work collaboratively in online fan communities to reconstruct that narrative using everyday media channels such as email, websites, phone calls, voicemails, and larger scale live events, like scavenger hunts. Such games are sites of real-time interaction creating a give/take relationship between producers and consumers, which results in a more complex system of co- creation and negotiated ownership, as opposed to resistance, incorporation, or indeed cultural empowerment.

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