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Università Degli Studi Di Urbino Carlo Bo Dipartimento Di Scienze Della Comunicazione E Discipline Umanistiche UNIVERSITÀ DEGLI STUDI DI URBINO CARLO BO DIPARTIMENTO DI SCIENZE DELLA COMUNICAZIONE E DISCIPLINE UMANISTICHE CORSO DI LAUREA: COMUNICAZIONE E PUBBLICITÀ PER LE ORGANIZZAZIONI INGRESS introduzione teorica e analisi dei suoi giocatori Relatore: Chiar.mo Prof. Tesi di laurea di: GIGLIETTO FABIO ANDREA RIVIS ANNO ACCADEMICO 2012-2013 Ingress Andrea Rivis Indice 1.Introduzione.................................................................................................................................... 4 1.1.Trama della storia...................................................................................................................6 1.2.Definizione tipologia di gioco.............................................................................................10 1.3.Finalità nella creazione del gioco.......................................................................................13 1.3.1.I tre principi per il futuro del gaming........................................................................14 1.3.1.1.Sradicare i pantofolai...........................................................................................14 1.3.1.2.Pensare oltre il telefono......................................................................................16 1.3.1.3.Contenuti pubblicitari innovativi........................................................................17 1.3.2.L'altra faccia della medaglia........................................................................................18 1.3.2.1.PlaceRank factor per le Local Search.................................................................18 1.3.2.2.Sistema per il Check-In.........................................................................................19 1.3.2.3.«Le bon Dieu est dans le détail».........................................................................20 1.3.2.4.Allargare la base d’utenza di Google+...............................................................21 2.Letteratura.................................................................................................................................... 22 2.1.Raccontare una storia..........................................................................................................22 2.1.1.Navigare i Media...........................................................................................................23 2.1.2.Le fondamenta del transmedia storytelling.............................................................26 2.2.Giocare al gioco.................................................................................................................... 31 2.2.1.Significati.......................................................................................................................32 2.2.2.L'ambiente che ci circonda..........................................................................................36 2.2.3.[Gioc]at(t)ore.................................................................................................................40 3.Ricerca sui giocatori.....................................................................................................................42 3.1.Introduzione.......................................................................................................................... 42 3.2.Studio letteratura pregressa..............................................................................................42 3.3.Metodologia e campione....................................................................................................43 3.4.Domande di ricerca..............................................................................................................44 3.5.Ipotesi risultati......................................................................................................................44 3.6.Presentazione risultati.........................................................................................................45 2 Ingress Andrea Rivis 3.6.1.Demografia...................................................................................................................45 3.6.2.Etica................................................................................................................................ 46 3.6.3.Spazio e tempo.............................................................................................................47 3.6.4.Relazioni........................................................................................................................ 50 3.6.5.Google+......................................................................................................................... 53 3.6.6.Narrativa........................................................................................................................ 54 Puzzle/WOTD......................................................................................................................... 54 3.6.7.Aspetto favorito del gioco..........................................................................................55 4.Conclusioni.................................................................................................................................... 58 3 Ingress Andrea Rivis 1. Introduzione Il 16 novembre 2012 Niantic Labs1, una start up di Google, lancia ufficialmente una versione beta di Ingress2, un Massively Multiplayer Online Game3 che sfrutta la realtà aumentata4 attraverso smartphone e tablet5. Il gioco segue una complessa trama fantascientifica che Niantic svela a poco a poco. Illustrazione 1.1: Homepage http://ingress.com Lo scopo del gioco è quello di creare, attraverso il proprio smartphone, dei portali in luoghi di interesse artistico, architettonico, commerciale, storico, ecc.., e collegarli tra loro in aree triangolari formando dei campi virtuali su superfici geografiche reali. Il progresso nel gioco viene misurato dal numero globale di Mind Units, persone formalmente sotto il controllo di una delle due fazioni (Illuminati e Resistenza), che si trovano all'interno del campo virtuale creato. Parallelamente alla fase di gioco si svolge una vera e propria attività investigativa che, attraverso una serie di indizi, impegna gli utenti nel ricostruire la trama di Ingress e nel rispondere ad una serie di misteriose domande, prima tra tutte cosa veramente sia il Niantic Project. Ingress è stato pubblicizzato i giorni precedenti al lancio con una campagna online di viral marketing anche se ci sono state avvisaglie di questo già dal 12 luglio 2012 quando al 1 Cfr. https://play.google.com/store/apps/developer?id=NianticLabs@Google 2 Cfr. http://www.ingress.com/ 3 Cfr. https://it.wikipedia.org/wiki/Massively_multiplayer_online 4 Cfr. https://it.wikipedia.org/wiki/Realt%C3%A0_aumentata 5 Fino ad ora l'applicazione è stata rilasciata solo per sistemi Android ma il rilascio per iOS è programmato. 4 Ingress Andrea Rivis Comic Con di San Diego si avverte6 per la prima volta il nome Niantic Project7. Il gioco è stato distribuito fin da subito globalmente ma in maniera graduale e seguendo sempre la logica di sviluppo di un software allo stadio beta8. Questa logica di distribuzione non è nuova nel complesso sistema che Google ha nel rilascio dei suoi servizi, è la stessa che ha usato, ad esempio, con Gmail9 e con il suo social network Google+10 e che, nel caso di Ingress, ha permesso di garantire una buona esperienza di gioco fin dai primissimi giorni quando gli utenti erano veramente pochi. Inoltre, tale logica di rilascio può contare sul forte sentimento di esclusività che hanno gli utenti che ne fanno parte, un sentimento quasi elitario che stimola chi non ne fa ancora parte ad aspirare all'inclusività. Da notare che se in prima istanza i portali venivano decisi arbitrariamente da Niantic, col tempo gli utenti hanno avuto la possibilità di segnalare in maniera autonoma dei luoghi di interesse (posto che questi rispettino le linee guida11) per la candidatura a portali seguendo la logica del crowdsourcing12. Illustrazione 1.2: Una schermata del gioco (©http://www.gizmag.com/google-ingress-project-niantic/25039/) Sebbene il principale scopo di Ingress sia l'intrattenimento ludico dei suoi giocatori, non dobbiamo sottovalutare le opportunità commerciali sfruttate da Niantic Labs. Fin dallo sviluppo embrionale di Ingress è stata coinvolta una mezza dozzina di partner pubblicitari riuscendo ad integrare nella narrativa del gioco contenuti commerciali in maniera non intrusiva, permettendo da una parte ai giocatori di arricchire la loro user experience e, dall'altra, dando a Niantic Labs un minimo di ritorno economico che potesse garantire 6 Cfr. http://youtu.be/ZzpuWpy28pA e http://youtu.be/6iksKHcy0_M 7 Cfr. http://www.nianticproject.com/ 8 Cfr. https://en.wikipedia.org/wiki/Software_release_life_cycle#Beta 9 Cfr. https://en.wikipedia.org/wiki/History_of_Gmail#Extended_beta_phase 10 Cfr. https://gplusproject.appspot.com/static/it.html 11 Cfr. https://support.google.com/ingress/answer/3066197 12 Cfr. https://it.wikipedia.org/wiki/Crowdsourcing 5 Ingress Andrea Rivis l'autosufficienza del progetto. Nel corso di questa breve trattazione cercheremo di analizzare come questo gioco riesca a innovare il rapporto che i giocatori hanno con lo spazio urbano che vivono e in cui agiscono, come Ingress riesca a modificare tragitti e comportamenti abitudinari e come sia da ausilio nella costruzione di reti sociali. Vedremo infine, a fronte della attuale letteratura sui giochi, dove sia possibile collocare Ingress e se l'attuale letteratura
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