Can You See Me Now? gets a lot of coverage and in the literature comes across as a, if not the, seminal pervasive game. It is played in the city, purposely mixes realities and uses devices with GPS technology, ticking all the boxes for this type of gameplay. I’m only going to pull out some of my relevant notes as it is covered very well in many academic papers and books.
Can You See Me Now? is a game that happens simultaneously online and on the streets. Players from anywhere in the world can play online in a virtual city against members of Blast Theory. Tracked by satellites, Blast Theory’s runners appear online next to your player on a map of the city. On the streets, handheld computers showing the positions of online players guide the runners in tracking you down.
- This is their gamiest piece [by far]
- It was a chase game and they understood and wanted to bring the affective elements from chasing into this mixed reality technical system, such as the feeling of being shouted at, people breathing down your neck, the sound of running footsteps behind you, hiding and jumping out. [Between Ritual ProcessÂ (1969) and Drama, Fields Metaphors (1974), it seems that Turner has started to pick up an understanding of the affect of ritual, though doesn’t develop it]
- This is important as how do you keep someone engaged in the 3D world without some sort of contact with theÂ physicalÂ players. How do you get someone involved in the virtual world
- When designing the virtual world they ask themselves is this world in the past, the present or the future. This decision is important to how the piece functions. For example this ties in with the piece asking you for the name of someone who you haven’t seen for a while.
- The players (who are all in the virtual world) would have to work together to catch the runners.
- Used Walkie-Talkies for the specific aesthetic that they bring and that they are seemingly lo-tech solution [Same reason I used them for RoboRacers, they have a lovely textural quality about them]
- Purposefully a non-naturalistic 3D world. Very obviously alternate. Very obviously fictional, not an attempt at a copy of the real world.
- Much emergent behaviourÂ occurredÂ in the 3D world, peple did things that were unexpected. Patterns emerged that were different from offline. Some people used it like a chat room, there were fans/stalkers/followers who appeared in each playing.
- The avatars in the 3D world are all identical, though one type for runners and one type for players. [stripping of identity in liminal spaces]
- The runners ended up in what is basically a paramilitary look. They needed them to feel like a team, needed a uniform. No logos. To feel purposeful and competent needed to be dressed purposeful and confident. [Again a removal/replacement of identity. Uniforms like this put the individual in a liminal space. It is interesting that they were black as this also symbolises death, a state in which ritual participants are often identified as]
- The runners had all their garb laid out on tables gridded with tape and would be dressed and geared up before going out into the streets to run. [the description of this is soÂ reminiscentÂ of ritual preparation and formalised actions in taking on the symbols of the ritual, the ritual garb.]
- The runners became part of a group, looking out for each other. The situations were on busy streets, dangerous, tiring, stressful. [communitas and the situations that promote communitas]
- In different countries the reactions to the runners was very different. In Japan they gathered followings who would run around with them. [although the garb looks somewhat scary in western culture, maybe it has different connotations in the east]
- Want the players to be angry and playful at the same time.
Again throughout I heard very detailed descriptions of the procedures of the piece from end to end. The level of recollection of the details from work nearly a decade old is quite surprising and I believe shows the level of care paid to the little elements and how these contribute to the work.