 So where does location-based gaming and storytelling come from? Well, location-based storytelling comes from, for example, games like geocaching, where you find hidden treasures in your environment, which might be linked to a narration, for example. There are geocaches that have elaborate stories around them, but there are also some which are very technical, where you just have to find out the coordinates. We don't have a binary distinction between story-no-story, but we have a continuum of things like that. That means, although the evolution of today's location-based games, apps and stories is directly linked to the evolution of mobile and GPS devices, its basic principles are not new. Let's look at the origins of geocaching, for example. Everybody might be familiar with the scavenger hunt. Often used as children's outdoor activity. A scavenger hunt makes the players or hunters follow hints, maps and riddles to find the way from one place to another to a treasure hidden at some secret location. If we now look at geocaching and how it works, we'll find the same treasure and scavenger hunt principles here, but combined with electronic means. An easy way to explain geocaching, therefore, is to say it's a scavenger hunt using GPS data and mobile devices to locate the hidden treasures or caches. One way to create a scavenger hunt is to give the players coordinates of the locations they have to find. This results in a location-based game, maybe, but not always a location-based story. It's always possible, though, to implement a story within. For that, you need a fictional setting or a challenge that has to be solved. One way is to create a fictional character, like Max in Secret City, who's lost and has to be found. Or you could create a fictional companion for the searcher via letters or else, who helps find the hints hidden at several locations. The possibilities, of course, here are endless. Then we have location-based games like Can You See Me Now from Blast Theory from the year 2001, which was kind of a milestone for location-based games. And this is a story about absence and a story about mixing virtual and physical worlds together, which was really, really a great project. Can You See Me Now is an online game that's also played on the streets. Members of the public can visit the website from anywhere on the internet, and when they arrive, they're dropped into a virtual city. In this case, it's a small virtual model of the Cop Fan Seed, the area that we're in now. The players then use the arrow keys to move around this virtual model, and they have a chat window where they can text each other. The aim of the game is for them not to be seen by three runners, and the three runners are on the real streets of the city with handheld computers, global positioning systems, and a walkie-talkie. And those three runners are chasing the online players to see them or to catch them. They have to get to the same place in the real city that that player is located in the virtual city. We have things like Mr X Mobile from Ravensburger Digital, which is like putting a board game into the city, but it also tells a story like you are on the trace of Mr X. You have to hunt him, and he has to escape you. And we should take a look at Ingress, the game by Google, by Niantic Labs. That shows like how location-based game mechanisms, different mechanisms function in the physical space. Location-based storytelling has evolved, I would say, since 2000 and has more and more differentiated.