Kreative.asia Driving Engagement with Transmedia Narrative

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Kreative.Asia, 2012: Get Noticed
Workshop on how to construct a transmedia marketing narrative

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Kreative.asia Driving Engagement with Transmedia Narrative

  1. 1. April 6-8, 2012Driving Engagement throughTransmedia Narrative Presented by Esther Lim esther.lim@gpj.com @geekgrl 1
  2. 2. Understanding the consumer landscape 2
  3. 3. We live in an age of abundant media 3
  4. 4. Access to moreinternet enabled mobile devicesMeans we spend more time consuming content online 4
  5. 5. Average adult consumes more than11 hours of media content per day TV and Video: 4:34 hrs Internet: 2:47 Radio 1:34 Mobile: 1:05 5
  6. 6. 49% use mobile phone while46% use tablets watching TV while watching TV We are always connected and constantly consuming from any place at any timeSource: Nielsen Q1 Mobile Connected Devices 6
  7. 7. Today’s consumers are media multi-taskers 7
  8. 8. What’s the pattern here?‣Females are bigger multi-taskers than males‣18-34 year olds are the pre-dominant multi- tasking group‣Women consume content across more devices than males 8
  9. 9. Consumersare:FragmentedDistractedImpatientDiscerningDemandingContent must be:SmarterRelevantValuable 9
  10. 10. Content used to be the scarcity.Media availability used to be the scarcity.Pages in a magazine used to be the scarcity.Thirty-second commercial breaks used to bethe scarcity.Now it’s attention that’s the scarcity, becausethere are unlimited bits and there’s no end tocontent.”—Edward Boches, chief innovation officer at the Mullen adagency, in an interview with eMarketer, February 9, 2012 3
  11. 11. Brands that meet consumers on multiple platforms—with useful things to say in each venue—can engage itsaudience more deeply than ever. 3
  12. 12. What is Transmedia? 12
  13. 13. It’s a way of telling storiesacross multipleplatforms that is individually distinct, yet related to a central story 3
  14. 14. Transmedia stories are usually participatory Participatory. Not just watching Recursive. Multiple stories back into a = core narrative and builds communal intelligence Scalable. Grows into other forms or properties to some extent
  15. 15. How does transmedia work logistically?Story elementsare broken up anddelivered toaudiences acrossmultiple platformsto enable thecontent to be“found” in differentways http://social-creature.com/page/3 6
  16. 16. Movie TV Series Download Novel Big Flash Mob Knit-Along Adventure/ Twitter Video Games History of Main Story Future of the the iPhone Flickr Storyverse/ Storyverse Podcasts Backstory Blogs Story of Music Minor DVDs Facebook Story Character/ Alt POV iPad/Tablet True Live Events Stories Universe Fan Assets: Websites Social Games Video, Myths Photos, MP3s Concerts YouTube User Backstage/ Generated CDs Comics Content/ Making of Merchandis Fan Fiction Webisodes e Graphic Novels Toys Theater Documentary RadioAudiences can enter the storyworld through any story platform Jill Colick, Story2OH.com 7
  17. 17. Though separate, each story platform workstogether to create a larger more completecentral narrativeGraphic Source: Robert Pratten, Getting Started in Transmedia Storytelling 2011
  18. 18. Each platform offers openings to new layers ofcontent for audiences to discover and explore Discovery Use of social mediums such as twittter or YouTube Videos Core story Web site Exploration Additional and supporting story content on blogs, micro- sites, via music, TV or graphic novelsGraphic Source: Robert Pratten, Getting Started in Transmedia Storytelling 2011
  19. 19. The goal of each story platform is to move thecentral narrative forward When a story is retold exactly the When different media are used to tell same way across different platforms different parts of a larger story to = Not transmedia forward the central narrative = TransmediaGraphic Source: Robert Pratten, Getting Started in Transmedia Storytelling 2011 10
  20. 20. What makes transmedia different frommultimedia campaigns? 12
  21. 21. Examples of Transmedia 21
  22. 22. 22
  23. 23. Multi-platform cross-overs of the Heroesstory:• Toys• Fan Fiction• Alternate Reality Game• Mobile• Print• Comics• Games• Web Content 23
  24. 24. 24
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  27. 27. 27
  28. 28. Examples of Transmedia in Marketing 28
  29. 29. Cisco uses transmedia to engage remote audiences during their GSX Event 29http://nomimes.com/work/cisco-threshold.html
  30. 30. Cisco uses transmedia to engage remote audiences during their GSX Eventhttp://www.juxtinteractive.com/case-studies/2010/cisco-gsx/the-hunt/ 30
  31. 31. Sun Microsystems uses transmedia to launch a product and foster trial 31http://nomimes.com/work/cisco-threshold.html
  32. 32. Audi uses Transmedia to drive consumer awareness/test drives through entertaining experiences 32http://mckinney.com/work/clients/audi/art-of-the-h3ist
  33. 33. Nokia uses transmedia tied to a social cause for aproduct launch and trial (Nokia and Conspiracy forGood) 33http://www.conspiracyforgood.com/
  34. 34. Getting Started 34
  35. 35. An audience-centric approachand process !"#$"%&()"$*"% !"#$"%+,"%-+./0% !"#$"%+,"%.12"*34"-%&$(%&()"$*"% "56"/)"$*"% 7&6%0./%-+./0%+.%+,"%-"8"*+"(% 68&9./:-% ;5"*+"<%:.$)+./%&$(%&(&6+% 35
  36. 36. Audience Definition begins withPersona Development‣Personas  guide  decisions  on  story   development,  story  world  experiences  and   community  strategy:‣Organic  story  pla9orm  selec:on‣Character  development/interac:ons‣Audience  par:cipa:on‣Story  extensions 36
  37. 37. 37
  38. 38. 38
  39. 39. Define Your GoalsObjectives Generate Drive Inspire Drive next Build a gen buzz and JavaFX JavaFX Community interest downloads creation of Users developers to JavaOneAudience Java Developer Web / 2.0 Developer Web Designer 39
  40. 40. Define Specific Metrics where possible!   Attract, engage and sustain the interest of next gen developers for 3 months +!   Use story and game play to drive attendees to JavaOne & CommunityOne!   Build JavaFX product brand awareness, capture mindshare!   Drive actions (JavaFX downloads & usage) – Target 5000 downloads 40
  41. 41. Define the Story Introduction of Strange Creature Sightings (3 teasers) • Sighting in the woods by hikers • Sighting on a dark, empty road by construction worker • Sighting by students on a beachStory escalates towards a big reveal at event or CommunityOne Introduction of Lead Characters and the PIE Network (3 Episodes) • Baron and Hector start the PIE Network, recruit volunteers to help with investigations • PIE headquarters are broken in to, Hector and Baron realize they are being “watched” • Baron and Hector receive strange, threatening messages to stop the investigation Investigations and Strange Encounters (2 Episodes) • Baron and Hector continue to investigate unexplained phenomena and uncover more clues and evidence about the JUMP including mysterious metal disks with an engraving • Baron comes face-to-face with the creature in the sightings, capturing it on film The Cartel Speaks Up and Baron Mysteriously Disappears (5 Episodes) • Baron shares his investigation with the community and receives a strange visit from “The Wish” a henchman of “The Cartel”, warning him to stop his activities • Next day Baron disappears, Hector goes underground fearing for his life and a search for Baron begins starting with a strange visit from a rogue agent of the Cartel Baron is Rescued but the Friendship turns to Distrust (3 Episodes) • Hector leads a group of PIE volunteers to rescue Baron but Baron seems different. Tension builds up between the two dividing the PIE Network into polarized camps • Hector receives a package that leads him to clues that suggest Baron can’t be trusted The Big Reveal (5 Episodes) • Hector confronts Baron with the latest evidence received. Baron claims the evidence is fabricated. Upon closer inspection of the package, the two discover clues leading to the location of the JUMP where the truth 41 will finally be revealed
  42. 42. Mapping the desired experiences to theplatforms 42
  43. 43. Mapping the desired experiences to theplatforms Transmedia planning (online) IMAGE FICTIONAL WEBSITES VIDEO SHARING SITES GAMING VIRTUAL WORLDS Back story fictional Episodic character Story played- Role playing the LIVE STREAMING websites back story out in games story in real time Media format PHOTO SHARING SITES Live event streaming / character interaction Photos linked Your to the story Story Story delivered in real time through character LIFESTREAMS interaction Collaborative Characters made Groups around Threaded discussion story editing real on social stories networks SOCIAL NETWORK SOCIAL WIKIS FORUMS LIVE CHAT PROFILE NETWORK WORD GROUPS ANYTIME Time format REALTIME 43
  44. 44. Define the Roll-Out/InteractionStory /Game Elements Introduce Introduce Introduce Obtain more Story Key Characters Mystery Challenges story elements Conclusion at Eventengagement Process Iterates to Player Recruits players story conclusion Players download Challenges JFX SDK as app kit escalate in difficulty Clues Challenges (individual and group) as story unfolds 44
  45. 45. Define the Roll Out Plan/ProductionSchedule !   Final episodes of the story/game will lead players to the JavaOne event !   The story’s mystery should be revealed during JavaOne at a keynote !   Game assets are showcased for attendees to view, play with and judge for awards !   Potential to extend game by introducing part 2 at JavaOne to appeal to next gen designers Months Mar April May June July Aug Sept SXSW C1 JavaOne (2.0) javaFX Viral Campaign Extend viral campaign to include next gen designers 45
  46. 46. Orchestrate the story to the interaction touch points Audience Audience Personas interaction drive touch pointsinteraction mapped bydesign and story story platform platform selection Story delivery maps to story pacing Story platforms map Story to audience timeline platform usage/ behaviors 11
  47. 47. Without a coordinated effort,you get chaosand frustrated audiences 47
  48. 48. Social analytics should be a key tool inyour transmedia development tool kit 48
  49. 49. Social metrics provides direction for adjustingengagement and story delivery strategies real time 49
  50. 50. When monitored weekly, creators can actproactively instead of reactively around activities 50
  51. 51. Thank YouFor more information contact:Esther LimEmail: esther.lim@gpj.comFollow me on Twitter: @geekgrl 51

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