The game has acquired many various forms through the years.  These forms have been greatly contributed by the application of modern technology, which is continuously advancing and offering new experiences. With the electronic computer games as a start, the player can “live” and explore digital worlds that have been created by the imagination of the constructors. These digital worlds were accessible only through the computer, which then had limited possibilities. The growth of the Internet and the computer's hardware for importing and exporting digital information have henceforth rendered the computer as a daily object of use and the digital world as a parallel in that of the natural.

 The appearance of digital information in the natural space via the new technology augments the reality while, at the same time, it offers more possibilities to the user in order to interact with his environment. Thus the increased space is the hybrid of digital reality and material world. On this hybrid environment are based a lot of games, which with the use of technology create a very realistic fantasy space with new technological possibilities.

 The game functions as a means of education, exploration and more generally expression and creation. It tries the limits and the possibilities of new spaces and technologies, evolving them as a result. These games are separated in three general categories according to the use of technology and the final result that they have in space: colonization through game-play; disruption through game-play; and activation through game-play.

 Can You See Me Now? is a game that tends to be more in the category of the disruption through game-play, otherwise known as pervasive games. It combines the classic game of chase with technological applications such as the GPS and the Internet in order to transform the city into a labyrinth that exists materially as well as digitally, so the players in the city may chase players that are on the Internet. In other words the players in the city chase “ghosts” which are visible only via the screen of their computer, something which would be impossible without the technology that is used.

 This ubiquitous technology is related also with other games which do not have that much of an organized program as the CYSMN game but are more liberal and circumstantial. Games such as Yellow Arrow and Barcode Battler use the bar code, a means of identification for consumer products, in order to connect the digital and material world. With an electronic appliance the code is translated into digital information and offers the user sources with moreover information. The material existence of code presupposes the exploration of material space for the exploration of the digital later. The natural movement is an element that was absent from the digital worlds of computers of past and it has only recently begun to present itself. This parallel interaction with natural and digital elements is not something new, but has also been reported in Constant Nieuwenhuis’ New Babylon , a utopia where a new version of person uses the game exclusively in order to express his creativity and for this reason all the spaces and objects are interactive and augmented.

 Lastly, technology and its use through game-play does not only influence the person but also the space in which it is applied, either beforehand or as a result from the game. The experiences and the interactions are impressed in the space and the cold technology finally leads a space in a psychologically and sentimentally charged environment, often to the same climate with that of the game’s fantasy world.