Nuville is a real-world augmented reality game that turns your urban walk into a sci-fi adventure in which you reclaim control of your city from its builders’ AI.
The city of Nuville is governed by an AI entity maximizing each square inch to build towers without amenities. Its initial instructions were flawed, and human needs discarded along the way. By the time we enter the scene, no one seems to control the AI any longer. Nuville’s citizens are in a constant hurry and rarely smile. Players are implicated as members of a secret group of undercover hackers pretending to be tourists on a city trip.
Credits
- Creative Director - Karen Vanderborght
- Creative Producer - Amy Gottung
- IT infrastructure consultant/Web Programmer - Chris Kim
- Architect and Urban Consultant - Ruth Mora
- Ai, ML consultant - Vladimir Alexeev
- UI / UX Designer - Priam Givord
- Production Consultant - Sasha Boersma
Images for inspiration (billboards)
- Stills out of Alphaville Jean-Luc Godard
- Blame, Tsotumo Nihei
- Panorama, Tuan Jie Hu, Beijing-based Drawing Architecture Studio (DAS)
- archiGAN experiment, Stanislas Chaillou
- Labbezanga village, Niger River, Mali (photo by George Gester)
- Guide psychogéographique, Guy Debord
- Psychogeographical exercice by OCADU student Ainura Nifdalieva
- Chalk drawing around homeless man, social action campaign Boston
- Bodies in urban space, Willi Dorner
- Vertical Parking spot, Chicago, 1932
- Rhythmus 21, Hans Richter
- Carreaux à Lyon, Ememem
- “Brüsel”, François Schuiten, Benoît Peeters
- Phantom Landscapes, Yang Yongliang
- “Dessine ta ville rêvée”, child’s drawing redrawn by Koz architects
- City Dreams, city model by Bodys Isek Kingelez
- Package art of Gravity Rush, Takeshi Oga
- The Great Swallow, Benjamin Verdonck
Free games (downloads)
- Cards against urbanity, GreaterPlaces and Do Tank D.C.
- multipliCITY, Molleindustria
- The Last City, Michael Burdick
- Casual Games for City Walkers, Harry Giles
- Heart of Ashes, Joe McDaldno
- The Deep Forest, A re-imagining of The Quiet Year, Mark Diaz Truman and Avery Alder Mcdaldno
Acknowledgements
This research project has received support by the Conceptualization Program of the Experimental Stream of the Canada Media Fund.
