References

lifeClipper3 is most comparable to film, games and some new media art approaches.

Film:
Although lifeClipper3 effectively shows movies on the displays in the headset and is emotionally immersive to the visitor, there remain many distinctions between lifeClipper and film: Unlike the linear, previously decided edit of a film, where audience attention is fixed to a screen, the interactive freedom of lifeClipper3 permits both the visitor and real-time incidents to influence elements of the dramaturgy, for example, timing, framing, or sequence order. Parametric, controllable, emergent algorithmic systems take the place of film editing, leading to unpredictable, life-like dramatic compositions.

Games:
lifeClipper3 is more similar to the media approach of computer games: Narration is often bound to spatial and not temporal structures, and players are free to move around in real-time rendered surroundings.
But lifeClipper3 also lacks many of the typical features of games, such as a mission, fixed rules, levels, or reward and punishment systems, and it gives no option to take risks or to win.Players are invited to freely explore the vivid surroundings, to discover the logic of this alien world, and their own function and identity within the ecosystem. It is most comparable to adventure and artificial intelligence game genres.

AR-Games and new media art installations:
From a media point of view, lifeClipper3 is most directly comparable to Augmented Reality Games, Pervasive Games, Location-sensitive Games, etc., but there are also many differences: lifeClipper3 is a mise-en-scène that has to be experienced in a specific area by a single person (and, in future, by a small group) together with a guide. The visitor is immersed in a parallel fantastic world and doesn’t simply collect virtual data from an invisible, networked information layer.
It is more similar to a sensory, personal, drug-like experience than a social game event. Technically, the experience of lifeClipper3 is most similar to new media art interventions such as Janet Cardiff’s “audio-walks”, location-sensitive audio installations, or the famous biofeedback-sensitive work “Osmose” from Char Davis

Reference projects from the entertainment industries:

• Botfighters. It’s Alive Inc., 2002.
• Deadly Creatures. Rainbow Studios, 2009.
• Insectopia. GAME Studio, Interactive Institute Stockholm, 2006.
• MOGI. Newt Games, 2003.
• Spore. Will Wright, Electronic Arts GmbH, 2008.
• Wild Earth Afrika. SuperX-Studios, 2007.