Transmedia Hollywood 3 Coverage (Part 1)

by April Arrglington on April 24th, 2012

#TH3: Rethinking Creative Relations

Panel 1: Realigned Work Worlds – Content creators looking beyond Hollywood, Silicon Valley & Madison Avenue for collaborators in the 2.0 space

On the convergence of the different entertainments communities:

We are entering a period in time where marketing and content are becoming indivisible. This is mainly because the way to get noticed in this saturated market is by making your experience more valuable and content driven. Traditional marketing models are becoming less relevant and efficient, especially now that everything is driven by social media. Besides, there is a new generation of content creators that have come up with new technological tools that allows them to carve their own space in the market. This is why Hollywood, Silicon Valley, and Madison Avenue have been forced to converge. It’s a sign of the cultural shift of our times. Granted, because we are still in a transitional period there are many communication issues between the silos in these spheres. But these are growing pains that are expected to be overcome if there is any hope for an efficient integration of these entertainment communities.

On other issues that arise:

Because the line it’s blurring between what we consider marketing and art, the issue of measurement has become a complicated one.
Because so many new distribution channels have arisen as well, there is also the issue of where to release your content in a fitting way.
Other issue to consider is the generation gap. Older generations are having trouble catching up with emerging distribution channels. They come from the mentality that entertainment is broadcast and not necessarily interactive. They are slowly discovering the value of additional content spread through different platforms.
While technology has enabled the space to become more democratized, you must never forget about production values and putting out high quality content.
Also, be mindful that this all feels like a disruptive movement because is happening during an economic crisis. Some companies are more risk driven than others, who may only go about funding projects via media buys. Even the guilds have lost their footing in the shift. As we figure our way out of the current influx situation, stay passionate and don’t be afraid of failing. Just avoid digital 'sweat shop' environments that claim to be entrepreneurial. And remember that being prolific is the best way of becoming efficient in what you do.

On other influential factors:

While spreadable media, collective intelligence, culture technology, and the crowd sourcing movement have accelerated the convergence of Hollywood, Silicon Valley and Madison Avenue, the question often arises of what is the middle ground. The creative community is interested in content, the technology community just wants to facilitate channels of distribution, and marketers are focused on selling you beautifully branded products and services. The basic answer lays in being sincere and ingenious about what you have to offer. The last thing you want to do is look at your audience only as data and their privacy as your only currency.

Case Studies and Properties mentions:

By Nick Childs:

'Beyond the Still' Cannon Contest which then turned into 'Reverie' film that premiered at Sundance last year.
Transmedia property "13 Reasons Why" that I have mentioned here at the Jump before. The driving platform is the book, released back in 2007, that explored additional content across multiple platforms. Now a best seller, the property has been picked up for film rights.
Pandemic 1.0 by Lance Willer, who Childs collaborated with for the launch of the live experience at Sundance last year.

By Lee Hunter:

The Youtube Symphony Orchestra collaboration project.
The Youtube Space Lab experiement.
The Parisian Love campaign to launch Google Search Stories.
The branding of Youtube channels showcaseing prolific content creators like Felicia Day with The Guild, her Flog, and her most recent Geek & Sundry channel.
'Life in a Day' film collaboration with Youtube, which was produced by Scott Free and released last year.

By Jordan Levin:

Dawson's Desktop.
Additional content for Walking Dead released online including webseries, games, and apps.
Same thing for Teen Wolf, including a webseries, a comic, and integrated marketing content.

By Jennifer Holt:

The Media Industries Project at UCSB in collaborated with the Carsey Wolf Center.
Published 'Media Industries: History, Theory, & Method' book in 2009.
Published 'Empires of Entertainment: Media Industries and the Politics of Deregulation' book last year about the politics and policy behind the purchase of studios by multi-conglomerates, and how we have a role and voice as citizens of media culture.

Panel 2: Creative Economies - Commercial vs. State-Based Models

In countries with strong state support for media production, alternative forms of Transmedia are taking shape. How has Transmedia fit within the effort of nation-states to promote and expand their creative economies? Are there limits where the money comes from?

Australia:

At a governmental level it is difficult to move away from the silos, for the funding bodies have an agenda too. You almost have to section off your budget, and apply to different grants for different sections of your project because double dipping into same segments of the state government is not allowed.

Some people are actually looking to have their Transmedia projects funded by multi-national collaborators interested in acquiring certain rights in advance, much like you would an independent film. So the end result is a patchwork involving a lot of deals.

In the private sector, great companies like Hoodlum that are coming up with great Transmedia campaigns (for the Flashforward property for example) get their money pulled to do traditional marketing. And that’s a shame in terms of having to leverage $25,000 for Transmedia vs. $1million for a 30 second TV spot. We need to bridge the gap people.

Canada:

It is no secret that Canada is invested in interactive media. There are many grants and programs in place through places like the Canadian Film Centre, the Mobile Experience Innovation Center, the National Film Board of Canada, and the Canada Media Fund. However, is also important to note that as of this year Canada took on a $6.9 million cut in media funding. This translates to the notion that public media is losing its capacity at the forefront.

Latinoamerica:

The problem in Latino America is that it’s assumed that it’s a heterogeneous territory and it’s not, especially when it comes to platforms and telecommunication systems. Also, in big markets like Brazil, funding is more grass roots in contrast with places like Canada. It used to be that media was heavily funded by the state, now even piracy is considered a distribution platform.

The real problem in territories like Brazil is that content creators love to produce but hate to develop. Transmedia takes a lot work that mostly goes into breaking down the silos at conglomerates, which can be an up hill battle because the people at the top are so set in their old ways.

Brazil also faces the problem of accountability. If someone funds a million dollar project with no need for ROI then a lot of bad projects are going to come out of that initiative. The infrastructure for any one project needs to have a clear focus, whether is education, social change, or advertising.

On the other hand, Telcos are the ones most interested in developing a Transmedia ecosystem in Latino America. While IP is at the center of everything, we have to remember that Transmedia is not only about developing content, but a whole ecosystem of brands and studios that support the IP. We are seeing this shift in mindset in territories like Mexico, where a huge entertainment conglomerate like Televisa is invested in the value of buying Telcos for the first time in history, which is unheard of behavior up ‘til now.

Final Thoughts:

Companies and brands won’t embrace Transmedia completely until they realize that in today’s market they have to function like publishers and broadcasters. And even then, it feels like Transmedia is still going to be the poor bastard stepchild of traditional media until it starts generating real revenue.

Right now models like pay-to-play are a concern, because you are creating projects where nobody is actually paying for the content. By the same token, ad executives are funding Transmedia projects as media buys, so they’re not financing the content itself. So far the intent and comfort level in Transmedia lays in R&D and metrics.

Another solution to the funding predicament, other than pursing tax incentives, is to go the crowd sourcing route and look at people who are willing to spend money on your project in exchange of becoming a part of your project design.

Case Studies and Property Mentions:

Elite Squad spread across Brazil through pirated DVDs, and since its release in 2007 it has become a cultural phenomenon.
"The Writer’s Guide to Making a Digital Living" book by Christy Dena.
The Transmedia Lab out of France mentions a collaborative partnership with the Annenberg Innovation Labs.
Business Model Generator gets a mention when talking about aesthetics vs. commodity in Transmedia design, and the semiotics and intertextuality of multiple platforms.

*NOTE: the last 2 panels will be covered on the next post, stay tuned.

A plea for collaborative Transmedia learning

by April Arrglington on April 3rd, 2012

Now that there are only 10 days left in The Miracle Mile Paradox Kickstarter campaign, I wanted to take a minute to go over the importance of this project in the local Transmedia landscape and why you should be invested in supporting it.

So, for some reason it seems that this is the year of Transmedia in Los Angeles. A whole bunch of Transmedia events are going to be taking place localy, culminating in October with the second annual Storyworld conference.

Everyone in Transmedia LA agrees that is vital for our members to step up when it comes to educating the local entertainment community about Transmedia. It's not enough to have a Transmedia panel in every single festival or entertainment conference. We need to showcase case studies and local projects for a better understanding of what Transmedia is and all its possibilities.

The team behind #mmparadox is hoping that by running this experience over the summer we as a group could help detract people from the definition debate and into a more tangiable understanding of the term by experiencing something available in our own back yard.

In addition, #mmparadox is possed to be educational in two more levels. A lot of members of Transmedia LA have never developed an intricate Transmedia project before. So we figured that the best way to learn how to set up a complex project (like an ARG) was to create one and learn by making. We have set up the educational track so that half of the members will be producing the project hands-on, and the other half would act as consultants and mentors.

In addition, we are developing this project through a series of workshops designed to break down the production process step by step. We plan to have an account of each of these workshops and the project's complete progress in our main site. That way this can be an educational experience not only for our local group, but also for the transmedia community around the world.

Please consider the value of this collaborative learning project, and how it impacts all of us in the Transmedia community. I urge you to take a moment, pledge and spread the word.

A Year in Showcases (Final Part 4)

by April Arrglington on April 2nd, 2012

This post is way overdue, but I've finally been able to finish the compilation to the best of my abilities. Thanks for your patience and support.

Azrael's Stop is an experimental narrative project of serial fiction and transmedia storytelling. This story of a mystical bar where people are led when they’re ready to die is told through serialized pieces of microfiction. The project is produced by Lucas Johnson and Silverstring Media.

AUTHENTIC IN ALL CAPS is an audio drama about an Underworld gambling philosopher desperately trying to earn a living in the Overworld as an autopsy pathologist who takes on a bet to find the meaning of death. The replayable experience takes you across the web, interacting with fictional websites while you hear the character’s stories behind them. The project is produced by a team lead by Christy Dena out of Australia.

Zoetrap: Is an immersive storytelling experience that debuted during #SWC11. In it you are recruited as a Paranormal Investigator and given access to a mobile phone that it's haunted. The experience is deciphered through private emails, voicemails, QR codes, video and audio. The producers created an app for the experience, which also featured live events through its run. The project is headed by Hannah Wood and Spirit Level Productions out of the UK.

Jurassic Park Slope: Transmedia parody about a hipster party being ruined by a Velociraptor attack. The experience consisted of walking tours of Brooklyn smart phone applications, traditional short film narrative, public art, music/dance live event experiences, and DIY how-to’s. The project is prodeced by Caitlin Burns and Steele Filipek.

The Veil Nanoscience ARG: This ARG revolved around nano technology and a memory insertion chip. The experience ran at the end of last year out of New Jersey. The story is told through in-game websites, blogs, e-mails, dead drops, puzzles, and character interactions. The project was developed by Ryan & Steve Omark from Immersive Fiction, with further writing by Carrie Cutforth-Young.

The Davis Sculpture Walk: A transmedia experience curated as part of the John Natsoulas Gallery in Davis, CA. In this interactive and replayable expedition participants are encouraged to share art in an outdoors environment where interactive surfaces serve as a blank canvas where artists, participants, and visitors can leave messages and stories.

The Game of Sunken Places: An interactive storytelling experience tied to the book series by M.T. Anderson. Further discover the storyworld by unearthing online assets like: videos, photographs, newspaper cuttings, telegraphs, letters and printed ads. Among other Scholastic titles embracing Transmedia this last year (that I've also mentioned at some point in this blog) we can include: 39 Clues by Various Authors, Malice by Chris Wooding, Trackers and Skeleton Creek by Patrick Carman.

Ain't That Life: Is based on a web series about Harold Bregman, a hapless yet ever-optimistic man who struggles to find success in his career and love life, but invariably stumbles into trouble and even danger. The property utilized a handful of platforms further the story, including a small ARG. The series won Best Web Series Award at the Best Shorts Competition.

Other Honorable Mentions

Other honarable mentions that I have already covered at some point include:
GoBZRK, Low Lives, Kcymaerxthaere, Zenith, Beckinfield, Night Eternal, Decode

by April Arrglington on March 4th, 2012

You know, the more I think about it, the more torn I become.

The Hunger Games has had a very innovative movie campaign, no one can deny that. In fact, the campaign has been not only innovative, but very interactive. It released an interactive poster, an interactive website, an interactive map tour of Panem, even an interactive magazine issue with Total Film, which used Blippar Augmented Reality to uncover extra content.

Now surveyors indicate that the movie could open at the 100 million mark. By all standards this number makes the campaign a total success. But I can’t help but wonder, now that the movie is premiering in less than a month, if they could still take this just a bit further into fandom gold. And by that I mean, take it beyond an interactive level and into a total immersion experience.

The Hunger Games campaign thus far has taken advantage of an array of visual assets and clever merchandising. But it’s not surprising to note how during this campaign most of the assets actually related to the narrative have been in fact released by the fandom, unofficial mediums, and other channels.

Yes, maybe parodies and unofficial book companions belong exactly where they are at, with the fandom. But at the same time, it is fascinating to see how the most original content I’ve seen developed in the Hunger Games universe has actually come from the fandom. I’m talking about people coming up with different versions of the Panem Anthems, different recipes of baking goods imagined to be found at the Mellark Bakery, or the absolute best Hunger Games T-shirts designs ever to be found online… even the most interesting ARG, that sadly was shut down by Lionsgate, actually came from the fandom. Scholastic and Movies.com launched very clever writing contests… but when it came down to the official campaign for the movie, assets related to the narrative were scarce.

I mean, I’m talking about the fact that they went through all this trouble of creating such a wonderfully interactive site for the Capitol. They had millions of fans register to be part of the 12 districts… and yet, instead of taking advantage of this wealth of fandom, the official movie campaign decided to utilize this resource purely for promotional purposes.

And they could’ve done so much more with the hub! For one, they could’ve had fans develop assets out of the negative space left to play with inside the universe. And by that I don’t mean something extremely complex or fancy… I mean, how about promoting content generation via contests relevant to what the different districts represent and their role in the Panem universe? Am I really asking for the stars here?

I understand that it is a rule in Transmedia to tell the story of the main character through the driving platform. But there is so much left in the Hunger Games universe that the fans would love to explore. Is it really that scary to go there?

After much consideration I've come up with a couple of explanations for what really is the predicament here. One explanation is that it was a clear choice between commerce and art. I was chatting briefly with Simon Pulman last week about this subject matter and he concluded that, if you think about it, the campaign has clearly done its job for the first movie. Why go the extra mile when you are reaching beyond your expectations when it comes to the impressive projected numbers we are talking about here, and that’s just national ancillary. Further efforts would’ve yield diminishing returns.

However, we are talking about an established franchise here. Two, maybe three movies are still yet to come. Don’t you want to nourish your fandom by doing something cool, immersive, and innovative NOW?

Apparently not. Especially when you are not motivated to do any further investing until you get back at least 400 million worldwide. But why? Going there DOESN’T cost that much money, especially if you already have all these great interactive elements in place to begin with. It would take nothing to go that extra mile. Why wait to start experimenting on movie 2, 3, 4?

My other explanation for this decision of not going the extra mile relates to the fact that when it comes to the narrative, the campaign choose to go with the easiest point of view. If you think about it, the movie campaign revolves around the decision of telling the story or introducing the audience to the Hunger Games universe from the point of view of the Capitol. The problem with this decision is that the Capitol is the least likable POV in the Hunger Games universe. There is nothing wrong with that, of course, but it would’ve been nice to have access to other points of view too, i.e. the rest of the districts. After all, this is where the characters we care for actually live. Come on… I'm sure I'm not alone thinking this.

Now the question is, what’s it gonna take for a campaign to go the extra mile? When is gumption gonna be a prerequisite to finally do something truly innovative here? I mean, the clock is ticking people. Last time I heard we only have 10 more months before the apocalypse.

Mi cobertura de #SWC11 ahora en Español

by April Arrglington on March 4th, 2012

Lo prometido es deuda. Estoy anunciando que ya está disponible la traducción en Español de mi cobertura completa de la Conferencia Storyword 2011. El documento de casi 30 páginas contiene información y recursos valiosos para todos aquellos interesados en Transmedia en los mercados de habla Hispana.

Se recomienda esta lectura a todos aquellos interesados en la evangelización y educación Transmedia. El documento está disponible para descarga inmediata en la sección de extras de este blog.

Gracias especiales a Paula Iñiguez de Detour (US/México) y Valentín Fernandez-Tubau de ABC Guionistas (España) por la ayuda y apoyo con la traducción.

Espero que este esfuerzo no solo sea educativo, pero también divertido e inspiracional. No duden en contactarme con cualquier duda o pregunta referente a Transmedia. Aquí me encuentro a su disposición.

2012 Updates

by April Arrglington on March 3rd, 2012

Well, I'm sorry to have delayed my last post for the on going list of 2011 projects I'm profiling under 'A Year in Showcases'. Family matters saw me traveling for the good part of February, thus delaying my posting scheduele. That been said, expect that post up soon.

In the meantime I will like to make some quick anouncements regarding my latest role with the Transmedia LA group. In our last meetup, Transmedia LA announced the launch of an educational track focusing on creating, producing, and launching an ARG central to Los Angeles. The project is called The Miracle Mile Paradox and in addition to the location based game, players outside LA will be able to participate and enjoy the experience via the online game components.

So, I wanted to officialy announce here that I've taken over the role of one of the project leaders and official Story Producer for the experience. We are very excited about the project, which is set to run for 3 months this summer. Currently, we are getting ready to launch the fundraising campaign. Expect more news on The Miracle Mile Paradox project soon.

Other than that I also wanted to announce that I was able to complete a full translation of my coverage of the Storyworld 2011 Conference. The 30 page document is an invaluable educational resource that I hope can help with the evangelization of Transmedia in Spanish speaking markets. Tell all your Spanish speaking friends about it. Find the downloadable document under the extras section. Especial thanks to Paula Iniguez and Valentin Fernandez-Tubau for their amazing help with the translation, you guys rock.

A Year in Showcases (Part 3)

by April Arrglington on January 26th, 2012

These are coming along slowly but surely. I'm featuring one last batch of projects for part 4... and I'm open to suggestions if any of you want to recommend any notable Transmedia projects. In the meantime, I'm profiling below the most notable projects out of Transmedia LA. Please note that I'm cross promoting this post with the Transmedia LA website, as this post pertains to that particular group. I suppose I should also mention here, in my blog, that I've been appointed Content Curation Director for the Transmedia LA website. So if you are interested in all the going-ons of our local group check our site here.

The Los Angeles Ghost Patrol is a paranormal investigation team focused on Southern California hauntings. The project came into our radar thanks to project producer Susan Bell, who has come up with a great Prezi presentation to describe exactly the Transmedia stratergy for LAGP. Among the platforms developed for the project include the web, film, TV and an ARG.

The Rising is an organization made up of both ordinary people & genetically unique warriors known as Seers. The Rising is dedicated to the preservation and advancement of human society, and the destruction of the Wraiths. The Rising came into our radar by creators Philip Gable and Lauren Scime from Witchfactory Productions. The driving platform for the projects is the book, which is currently available for purchase here.

GATES is a young man living a wretched existence in an isolated colony of humans. Deep within the caverns of an industrial mountain complex, his society is ruled by a totalitarian government called the ConGenement–who controls all facets of life. Gates came into our radar by creator Hal Hefner. The driving platform for the project is the web comic, which as of recently just wrapped up the first year of publication. The comic is being presented by Heavy Metal Magazine.

MirrorLAnd is a 21st century adaptation of Lewis Carroll’s Alice’s Adventures in Wonderland in which a 20-something Alice, just out of college, falls down the rabbit-hole working in the film industry only to land in the wonderland of LA’s underground circus. The story is being released online in serialized installments, and incorporates transmedia elements, including the music, fashion, and art, of L.A.’s alternative circus culture. The project came into our radar by creator Jenka Gurfinkel .

Humans call it Halloween. But for the real vampires, zombies, and ghosts, it’s called Undead Pride Day. The UPD campaign raises the profile of the mortality-challenged, to let them know it’s okay to crawl out of their tombs and face the rest of the world to say: creatures are people, too. The Undead Pride Day collaborative Transmedia experience came to our radar last Halloween through our very own Jay Bushman .

Operation Ajax is a graphic novel designed specifically for the iPad, inspired by the investigative journalism of best-selling author Stephen Kinzer and his book 'All the Shah's Men: An American Coup and the Roots of Middle East Terror'. The project came into my radar by co-creator Daniel Burwen. The digital comic by Cognito Comics is now available for download here.

A NODE is a (Local Area Network) Gaming Centre. Basically, it’s a café where customers can enjoy one another’s company, a biscuit and a refreshing drink while they shoot up strangers on the internet via first person shooter games. The ARG for the project came into my radar by Kevin Franco from Francomedia in Canada.

While we are at it, I will also list here the One Child Transmedia experience based on the book Jeff Buick. The story followed the lives of several people, seemingly un-related, over a 30 day period in the summer of 2010. The ARG was also developed by Francomedia and Enthrill Entertainment.

Timedancer is an interactive television series developed exclusive for the Windows Phone 7. It combines video with exploration and puzzle solving to tell an epic science fiction story. The project came into my radar by producer Ari Abraham in London.

While we are at it, I will also list here Zombies Ate My City, anther interactive experience by Ari Abraham. Zombies Ate My City is about a scientist from the future trying to help stave off a zombie invasion in your own town or city. The cross-platform app experience is launching on Valentine's Day this year.

Sierra Zulu: A ragtag UN peacekeeping force operates a small camp guarding the no-man’s-land between Austria and the tiny agrarian microstate Soviet Unterzoegersdorf, the last existing bastion of the defunct Soviet Union. When an explosion occurs deep inside Soviet territory, the team is dragged into a bizarre conspiracy of industrial espionage, media madness and political intrigue. The project's driving platform is the film currently in pre-production. Sierra Zulu cam into my radar by our very own Tara Brown.

The Meme Project is a TV and multiplatform adventure drama currently in development which takes influences from comic books, games and science fiction. The action is set to unfold on many platforms both in the virtual online sphere, on TV and through real world events. It came into my radar via project's producer Kary Stewart out of London.

Web show RCVR it's a story told from the point of view of a government agent of dubious authorization who's been sent to scrub away memories of extraterrestrial encounters. The show unfolds in eight-minute episodes, released on YouTube by gaming channel Machinima. The show is the driving platform for a Transmedia stratergy that also included a great ARG that propelled the show to a 2.6 million viewership. The project first came into my radar via the IndieWIRE interview with creator David Van Eyssen.

Below I'm also including a few helpful applications worth mentioning that I've come across this year while I started to curate the Transmedia LA WIKI:

The great Jan Libby is planning on releasing an exciting new Transmedia I-FI App to launch her new project Snow Town, which is currently undergoing a Kickstarter campaign. The driving platform for the project was the ARG she released about a year ago. With the new Immersive and Interactive Fiction App the story can be experienced and replayed via your mobile, tablet or computer.

The Mynd App curates the world's best entertainment, and tracks audience interaction against their cross-content recommendation engine. This is a great solution for all of those interested in quantifying audience behavior across multiple platforms. The app first came into my radar via app creator Greg Martin.

Viggle is a new app that allows audiences to get rewards by interacting with content. While Viggle is concentrating its efforts on Social TV, the implications of interacting with other forms of content is significant. Also, its use of game mechanics to incentivize users by monitoring their behavior really hits on target. The app was developed by Robert Sillerman’s Function(x), and came into my radar via Simon Pulman and his Transmythology's post.

A Year in Showcases (Part 2)

by April Arrglington on January 16th, 2012

Apologies for the delay. Bellow I attempt to profile the most notable projects out of DIYDAYS '11.

Reality Ends Here: ARG developed by Jeff Watson and The USC School of Cinematic Arts. The experience is a pervasive media-making game designed to increase serendipity, social discovery, and collaboration among students in the disparate divisions of the USC School of Cinematic Arts. It employs a wide range of technologies and practices, from a game system driven by digitally-connected collectible cards to a web interface integrated with Facebook, Twitter, YouTube, and other social media platforms. For more info check: reality.usc.edu

Plant City Stories: ARG developed by Randy Finch about the search of a missing girl that unfolds accross multiple platforms. The website is designed to be accessible from any web-enabled device, and the experience is set to reveal elements of the missing girl story online by examining the intersection between video and the online tools for topography. For more info check: plantcitystories.com

The Lost Children: Property developed by Mark Harris through the IFP Narrative Lab in NYC. The experience revolves around a film about Evelyn Hamilton, who joins The Lost Children cult where she comes to believe in her own mystical powers, and becomes convinced that her death alone can save the world. The movie further unfolds online and via mobile. For more info on the project go to: desperatecomfort.com

Caine’s Arcade: A multiplatform property about a 9 year-old who creates a cardboard arcade game. The experience revolves around a short film about making the arcade. It unfoldes online and by visiting the physical arcade located in Boyle Hights, California. For more information on the project go to: cainesarcade.com

Where the Yellowstone Goes: A multiplatform property developed by Hunter Weeks about the Yellowstone River. The premise of the film revolves around a crew of people traveling down the Yellowstone River and tracking their travel through interactive geolocation applications, and a variety of media. For more information on the project go to: wheretheyellowstonegoes.com

The Wisconsin Hustle: A multiplatform property developed by Jim Babb and Awkward Hug based on a dancing game. The Wisconsin Hustle tests both your memory skills and your dancing ability. With your deck of dance cards in hand challenge your opponents and dance off with your pants off (or on). The experience has also an android application available. For more information on the project go to: wisconsinhustle.com

Socks Inc: Another multiplatform property developed by Jim Babb and Awkward Hug based on sock puppets. Socks Inc. is seeking garments from all walks of life. But Mr. Barnsworth is running a factory at overflow capacity & employees are mysteriously disappearing. The interactive project is currently on Beta. It unfolds online and through the creation of your own sock pupptes. For more information on the project go to: www.socksinc.com

Robot Heart Stories: A multiplatform property developed by Lance Weiler and Janine Saunders about a Robot trying to find its way home. Robot Heart Stories is an experiential learning project designed to empower the imaginations of disenfranchised students. It uses collaboration, creative problem solving, and storytelling to educate students about space, geography, language, and multiple online applications. For more information on the project go to: robotheartstories.com

Other helpful resources profiled this year include:

Story Pirates: Encourages writing in kids by having adults enacting their stories. A nationally respected education and media organization founded in 2003, Story Pirates pairs world-class teachers with first-rate actors and comedians to make learning more engaging and effective. The program is dually based in New York and Los Angeles. For more information visit: storypirates.org

Firestarters: part of the Freedom Labs, the Firestarters project fueles a discussion about change. The FreedomLab Future Studies is a research lab and an European think tank that does continuous research on social change based on future studies using a proprietary method: Scenario Based Reasoning (SBR). The results of all research help various organizations with creative strategies. For more information visit: www.freedomlab.org

Conducttr: Robert Pratten tool for Transmedia Storytellers. Available as a subscription-based service, Conducttr is a pervasive entertainment platform that allows anyone from international interactive agencies to independent filmmakers to design, manage, deliver and measure engaging interactive, social entertainment that spans online, offline and mobile devices. For more information visit: www.tstoryteller.com

The Transmediology Group: created by Adipat Verdi, Transmediology is a hub for designing experiences, engaging audiences and managing communities within brands and storyworlds. In adition to the facebook group, Transmediology has now also a Meetup available that services London. For more information visit: transmediology.com

A year in Showcases (Part 1)

by April Arrglington on December 21st, 2011

As most of you know, I LOVE case studies. So it often pains me when I can't get to all of the projects I want to profile. As we wrap up 2011, I've decided to compile a list of great Transmedia projects I have discovered through out the year. Most of these are a work in progress, but all are worth of the support of the Transmedia community. To make the long list a bit more practical to consume, I've decided to divide it up in 3: Projects showcased at Storyworld, Projects showcased at DIY DAYS, and Project showcased through out the year over at Transmedia LA. If you want to mention any other projects worth a look that for some reason have skipped my radar, please do so in the comments section.

Clockwork Watch: One of my personal favorites, because it's Steampunk themed. Developed by Yomi Ayeni, the project has of recently secured funding through a successful Indiegogo campaign. The property is launching the Transmedia extravaganza early next year. In the meantime, catch up on the production blog over at: www.clockworkwatch.org.

Research & Development(s): A pervasive experience based on Quackery, developed by Haley Moore. The project is heavily based on props and tangible objects, which I think is a unique and brilliant approach to Transmedia. A work in progress, you can find more on the project at malloryquirk.com.

Adore: An urban fantasy story world where fairies and their enchanted friends engage in timeless adventures. The property is based on the art of Jasmine Becket-Griffith, and it's developed by Witchfactory and Starlight Runner Entertainment. The experience is in packaging and pre-production stages. Go to Witchfactory for more information.

Colour Bleed: A fantasy world where a couple dance the colour back into a grey world. The property is been developed by Rhys Miles Thomas. The project it's unique and brilliant because it relies heavily on live dance performances. The experience is still in development in hopes of going live next year. Currently the team is getting ready to launch an Indiegogo campaign.

We Dream of Nothing: A science fiction fantasy property that connects two characters at opposite ends of the universe. Developed by Paul Burke, the experience is getting ready to launch next year. To sign up for updates go to: wedreamofnothing.com.

Time Tribe: A time travel adventure for kids aged 8-13. The project is been developed by Karen Bellinger Wehner and Lucas Johnson from Silverstring Media. The experience is still a work in progress, and it's currently looking into partnerships. For more information on the project check: www.thetimetribe.com.

The Karada : A supernatural thriller where a young woman struggles to save the multiverse as realities collapse around her. The project is been developed by Tom Liljeholm, James Martin and Carrie Cutforth-Young under Tea4Two Entertainment. The experience is still in development and the producers are currently looking for partners. For more information go to thekarada.com.

Saligia7: A transmedia sci-fi thriller whose first chapter, Zombie Alarm #1, ran in Amsterdam earlier this year. The project was developed by Ian Ginn, and was showcased at different Transmedia events including Storyworld and DIY DAYS. For more on the experience go to www.saligia-7.net.

Storm Surfers: A hunt for the biggest waves in the Southern Ocean, as seen on the Discovery Channel. The transmedia experience for the property it's been produced down under by Marcus Gillezeau. Currently looking into finalizing sales and distribution. For more on the property go to stormsurfers.tv.

Into the Far West: A steampunk western fantasy world developed by Gareth-Michael Skarka from Adamant Entertainment. The property secured funding from a successful Kickstarter campaign earlier this year, and the crew is currently in production. For more information check intothefarwest.com.

Treasure Kai: A property that uses adventure and fun to teach kids about history. The project it's been produced down under by Karen Robertson. The mobile app is already available on the istore, and was awarded a Gold Mom’s Choice Award in the USA. For more information visit treasurekai.com.

Tower of Fables: A fairytale storyworld been developed by Jean Pierre Magro and Dean O’Toole. Currently in development, the experience was part of the Torino Film Labs this year. For more information on the project check the project description here.

Marmaremara: A children's reality-fiction about catching a dream and turning nightmares into hope. The property is been developed by Nik Dee in Sweden. The project had its kick off on 11-11-11 in Stockholm. For more information go to www.nikdee.se.

The Inside Experience: A psychological social thriller developed by Intel and Pereira O'Dell. Staring Emmy Rossum, the experience was launched July this year. To access Inside go to theinsideexperience.com.

Storyworld Conference Day Three

by April Arrglington on December 16th, 2011

You all have to excuse me for delaying this post. Yes, ladies and gentlemen, I got sick. Why am I surprised? I always get sick this time of year. Regardless, I have prevailed. I have also noticed that I forgot to include the Lance Weiler presentation from Day One. So, I'm including it here. Enjoy.

From Day 1: Lance Weiler – Disrupt: Stories as R&D

Lance opened by going through the Pandemic case study. He explained how greatly he benefited by having gone through several different renditions of the experience. In each one the universe expanded through the use of innovative technology and smart product design. However, the true lesson he learned from this process was in audience engagement.

Lance found that when building experiences across multiple platforms one must take into consideration that the story must be build in a way that is spread out like a bullet hole glass. The ever growing expanding cracks acting as a metaphor for the audience, waiting to break the glass and blast the story to the mainstream.

After experimenting heavily with geo location, Lance realized that it is important to acquire all data voluntarily and with proper permission for true quality engagement. In this matter, all information collected through GPS, app downloads, and social media had a better prospect for personalize content, which in turn equated to stronger audience engagement.

Lance was also happy to discover that the pyramid of audience engagement is already shifting, and that the open source movement is finally getting the recognition that truly deserves. New audiences are becoming less and less afraid of immersion play and discovery. By the same token, testing extreme users has become very valuable for R&D, so never neglect any part of your public.

For video of the full talk click here.
For more on R&D and creative Transmedia financing click here.

Day 3, Panel 1: Story Architecture - Crafting Transmedia Design

The 4 Principles for Crafting Transmedia Design:

Non-linear spatial storytelling: where all media from all points of entry is as equally important as the driving platform. There needs to be a cohesive purpose between all elements, a shared structure, and connectivity when it comes to the craft.
Breaking the 4th wall: explore opportunities for audiences that go beyond points and badges when it comes to rewards. Pull audiences in an immersive fashion that ties to smart experience design. Augmented Reality is clearly at the forefront.
Needs to be social: audience relationship needs to be sustainable. Think beyond social media marketing and more in terms of collaborative and participatory opportunities for the consumer.
Participatory and/or User Generated Content: audiences are moving beyond sharing content socially, they are showing interest in game play and participating in rich storyworld experiences.

Things to remember when it comes to Spatial Design:

Non-linear narratives open new narratives spaces, where fans move between multiple platforms.
There are multiple points of entry into the story universe, and characters and story arcs extend in time and platforms.
Innovative interface design is essential for a better user experience. But take into consideration the technological comfort zone of audiences, and the possibility of platforms going obsolete.
Fans are also directly affected by interactivity. Integrated design allows for value co-creation and story remixes. By the same token understand that linear content is the main asset for passive audiences.

On Story Architecture - Differentiating between Story and Experience:

Because story is linear in nature, it’s deficient in its ability to integrate a more open design. In order for Transmedia Storytelling to work we need to take the story and see it as an experience that can only exists if accessing content in more that one platform. By integrating game design in the architecture, then the quality of the experience translates to value. The key is to define the nature of the experience. Is it one of thrill, competition? Once all these factors come together the story is posed to equate the experience.

The 5 E’s of Experience Design and lessons for optimal interactivity:

Entice: Action or design cue that invites attention. Be mindful that when you invite people to do something they become your medium. To take advantage of this, take time to understand their motivations.
Enter: Guide audience on what to do next, and develop indicators of the outcome. Leverage familiar story arcs, genres and familiar characters.
Engage: Is where the doing ties in with the engagement in the play space. Where cues are released about different elements having further interaction elsewhere.
E-motion: Delay the exit of an experience by focusing on emotion, a new enticement to follow up on. And remember, giving closure to a storyline is different from ending the experience all together.
Extend: Stories have been tools to communicate information, experience, knowledge and emotion. Extend the experience elsewhere, and allow for sharing through community.

For the slideshare presentation of this panel click here.
For the Transmedia Ready card game on best practices develop by Karine click here.

Day 3, Panel2: Character Centric Storytelling

The Betty Drapper Case Study

Helen Klein Ross gained a fascinating notoriety on Twitter when she decided to start tweeting on her own as the Betty Drapper character from the Mad Men TV series. Her tweets were so attuned to the original character that many people thought that she was a writer for the show.

Helen explains that the reason that @bettydrapper became so successful is because Mad Men is a period piece show in which there is less expository dialogue. The property itself lives in the holes of the drama and what is not being said in the show. Thus voiceover tweets from a character like Betty not only become appropriate, but quite fitting.

In addition, the Mad Men storyworld is full of visual details set in the world of advertising. This leaves a lot of room for improvisation. Which then brings up the question, are actors suitable to tweet as characters, instead of writers? Helen explains that neither are fitting. Writers lack the sense of improvisation actors have. And actors, while knowledgeable on background and motivation, lack storytelling skills.

Helen proposes a solution to this dilemma by introducing the new title of ‘Social Writer’ into the writer’s room. Someone knowledgeable in regards to story, and character motivation and behavior. In addition, the Social Writer should we well-informed on the nuances of social platforms, and have a sense of how a character would behave in different scenarios, different platforms, and different forms of live events. In short, someone who can not only navigate but write for the social sphere.

Lessons learned from the Betty Drapper case study:

When developing a property make sure to get Twitter handles ahead of time.
Utilize supporting platforms for supporting characters and spinoffs. Leave the driving platform for the main character.
Play in the negative space of a plot and don’t interrupt the continuity of the plot of the main show. Supporting platforms should be extensions of the storyworld, otherwise consistency will falter and it all will get confusing really quick.
When playing with extensions look into untold opportunities at different points in the timeline of the story. It helps giving further dimension.

Lessons on crafting characters:

Don’t worry about platforms or formats when you are creating a character. Just approach the story and then pull scenes from it that would speak to what you are trying to do.
When it comes to developing non-linear content think in a broader scale: about themes, character motivations, values, short comings, strong opinions, etc. Test and experiment on interesting avenues.
On story bibles: they are helpful when you already have funding and a business plan in place. But if you are at a place where you are just pitching a project, then it is probably counterproductive to build something that big. Just build the universe as you go, you don’t need to have all the extensions in place from the get go. Move forward towards production in smaller scale, and keep build from there.

Day 3, Panel 3: Narrative Design Discussion

The Basics:

Be consistent about characters and their story when you move them across multiple platforms.
Create the frame work of a superstory that allows for spinoffs of transmedia franchises. Take cues from epic narratives.
Anthology projects don’t work, having an over-arching narrative is important.
Keep the pattern, rhythms and cadences of the narrative within the meta-timeline of the story.
Create a ‘negative capability’ for the tech and creative team to fill the negative spaces of the narrative with sharp extensions of the story.
Create unique aesthetics and user experience.
Last but not least: know how to articulate ideas clearly.

Other aspects:

On Identity Design: find visual elements that allow for the story extensions to bring an added value to the narrative. Compose the experience design thematically.
On Architecture Design: architecture design is different than storytelling, and there are many ways to go about it and many interpretations of how to structure a narrative design. The thing to remember is that the super-structure and infrastructure of the experience need to organically flow with the story, like a symphony.
On Product Licensing: be surreptitious about narrative design to be potentially inclusive of licensing products. The first approach might be hard, so partnerships are recommended. Most importantly, be assertive about the relationship connectivity between the narrative and proposed licensed products.

Recommended read for this panel: The Visual Story by Bruce Block.

◀ Older Posts

Subscribe (RSS)