9. Many works have been created by
groups of devoted followers.
Producer Consumer
Prosumer
10. In a way this follows the
contemporary understanding of
transmedia storytelling.
A transmedia story unfolds across multiple
media platforms with each new text making a
distinctive and valuable contribution to the whole.
In the ideal form of transmedia storytelling, each
medium does what it does best—so that a story
might be introduced in a film, expanded through
television, novels, and comics; its world might be
explored through game play or experienced as
an amusement park attraction.
~ H. Jenkins, Convergence Culture: Where Old and New Media Collide, 2006
12. [Narratives] have been constructed
to achieve unity. While postmodern
narratives open out into fragments and
bricolage in content, plot and style,
distributed narratives take this further,
opening up the formal and physical
aspects ofthe work and spreading
themselves across time, space and
the network.
~ J.Walker, Distributed Narrative: Telling Strories Across Networks, 2004
Distributed Narrative
13. Integrating multiple texts to
create a narrative so large that
it cannot be contained within
a single medium.
~ H. Jenkins, Convergence Culture: Where Old and New Media Collide, 2006
Transmedia Storytelling
14. A Pervasive Game is a game
that has one or more salient
features that expand the
contractual magic circle of play
socially, spatially or temporally.
~ M. Montola, Exploring the edge of the Magic Circle: Defining Pervasive Games, circa 2009
Pervasive Games
15. Environments are the spaces in which
creative works are experienced...
Every distinct media has an
environment, but for some creative
works the environment is not incidental
but constructed to be a part of the
meaning-making process.
~ C. Dena, Transmedia Practice: Theorising the Practice of Expressing a Fictional World
across Distinct Media and Environments, 2009
Environments
16. A Transmedia Narrative project
or franchise must consist of
three (or more) narrative story
lines existing within the same
fictional universe on
any platform...
Transmedia
~ APG Transmedia Guidelines, 2010
17. } {
Games
TV
Feature Film
Short Film
Print
Music
Websites
Social
Live
Performance
Travelling
Work
Theme Park
Stage
Set
Virtual
Theatre
Outside
Inside
Integrated Media
Media Environments
18. Fran-
chise • mulitple mono-medium projects
examples - book, film, game, internet
Project
• Multiple media products make up one
Transmedia project
examples - Why So Serious
(ARG for Dark Knight)
4 Approaches To Transmedia
~ Christy Dena, Pixel Lab , 2010
Concept (Native) • Designed to be
transmedia from the concept stage
Franchise
• mulitple mono-medium projects
examples - book, film, game, internet
Transformation • Changing an ex-
isting mono-media property into transmedia
examples - The Fun Factory for Coke
21. Apples
AKA The Past
Appointment Viewing
Subscription
Ad Supported
Broadcast Centric
Marketing Budget
Audience passive
Oranges
AKA The Present
Video On Demand
Free Content
Brand Integrated
Networks & Community
Engagement
Audience participation
23. Know your audience early in
development and design around
them. Some members will contribute
whilst others will passively consume.
24. Consider each tier of your audience.
Prosumers
Base Users
Active Users
Will actively participate in the creation
of auxiliary content and promote your
project. Hardcore fans.
Will promote your project but not be
active in the creation of content.
Will casually consume your project.
26. 1. Find the underlying message or ethos
2. Consider the environments in which people can
engage with your message
3. Develop content specifically for appropriate media
4. Listen to the audience
5. Maintain a cohesive message across all platforms
The List
27. You may have an idea but you need
to boil it down to basics.
28. Try to:
1. Find your archetype
2. Write your OneLiner
3. Identify themes
4. Know your aspirational driver - Mastery, beauty, empowerment,
belonging, spectacle
Find the underlying message or ethos
30. Consider Environments
Ask:
1. Where do I listen to music or watch TV?
2. When do people need to be uplifted, nurtured or excited?
3. Is there a shared space in which people can engage?
4. Do I need to create a virtual or new space to get
my message across?
5. Is my audience here?
31. You may have a platform in mind but
take the time to think about what
platforms best fit.
32. Develop Content
Look for:
1. The media that best suits the space
2. The media that suits the user’s constraints (time and place)
3. Short form engagement
4. Longer form engagement
5. Ways to innovate by using emerging platforms
6. Ways the audience can participate
33. Your project is out there. Now you
must evaluate, reward and adjust.
34. Listen to the Audience
Listen to:
1. What your audience is saying about your story
2. How you can reward their input
3. Can you integrate their contributions into your project
35. As you use more platforms for your
message and take on new content
from communities, you
MUST stay on message.
36. Maintain the Message
Make sure:
1. You don’t fracture your narrative
2. Always repeat the previous steps when initiating new content
3. Use variations of your themes to retell the same message
37. Social Media isn’t a broadcast
platform. Make sure you have
conversations with your audience and
reward people for participating.
38. Staying in Touch
Social Platforms
1. Twitter
2. Facebook
3. Google+
4. YouTube
5. Blog Comments
6. Newsletters
7. Email
8. SMS
40. 4 Key points to consider when
developing Transmedia narrative
- Vision
- Collaboration
- Engagement
- Raw Guts
~ Suzanne Stefanac - Director, American Film Institute