Transmedia sorting hat

Transmedia Sorting Hat Understanding the Emerging Market for TransmediaI will make this available if you leave me your email address or business card.

Presentation to FIELDING GRADUATE UNIVERSITY January 16, 2012These slides were produced for a presentation to the Fielding GraduateUniversity, January 16, 2012

The famous Harry Potter sorting hat. It’s a ﬁtting metaphor for thispresentation, as I sort through the emerging history of transmedia storytelling.I will start by discussing my own background, and sharing my currentobsessions for certain stories, explore deﬁnitions, precursors, breakthroughs,current examples and resources.

WHY ME? Movie Geek Journalist Filmmaker Marketer StrategistWhat qualiﬁes me to give this talk?I am a movie geek.I am an ex-journalist, ﬁlmmaker and marketer.And I spent 20 years running digital programs and initiatives at the AmericanFilm Institute, some of which are listed here.To learn more about my career, check out my website at http://www.nickdemartino.net

WHY ME? 20 years at AFI: Computer Media Salons Enhanced TV Workshop Digital Content Lab DigiFestI discuss a few highlights of my years at AFI and the relationships I developedwith innovators at the intersection of Hollywood and Silicon Valley. I discuss afew highlights of the training-based programs and the showcase programs,leading into our signature approach: collaborative prototype developmentaround content.To learn more about my career, check out my website at http://www.nickdemartino.net

WHY ME? Nick DeMartino Consulting Digital media strategy Content, distribution, markets.I started a consulting business last year after leaving the AFI in which I helpcompanies make the transition occasioned by the disruption that the Internet isbringing to every market. Most of my work is in the content production anddistribution markets.To learn more about my career, check out my website at http://www.nickdemartino.net

WHY ME?Having heard the word ‘transmedia’ for some time, even as we were incubatingmany cross-media applications at AFI, I became intrigued by the rise in the useof the term last spring, especially because there seemed to be a lot of ﬁghtinggoing on. This lead to a lot of research and a series of interviews with many ofthe leading practitioners in the transmedia ﬁeld, and a three-art series “WhyTransmedia is Catching On” which was posted on the Tribeca Film Institute’s“Future of Film” site, and syndicated to sites around the world, includingHuffington Post, The Wrap, MIPblogs, x-media Lab (Australia) and others. Theseries lives on my own blog: http://www.nickdemartino.net/blog (Here is a postthat includes the links to all the different versions: http://www.nickdemartino.net/blog/2011/7/11/where-to-read-my-transmedia-series.html )

TRANSMEDIA: What is it? Why Should You Care?So… what is transmedia, anyway….

DEFINITION Commercial transmedia supersystems From “Playing with Power in Movies,Television and Videogames” by Marcia Kinder (1991)The first citation I could find that uses the “transmedia” adjective was this one, from USC’s MarciaKinder, who is famous for launching the “Labyrinthe” project –http://dornsife.usc.edu/labyrinth/about/about1.htmlIn my Tribeca post, I added my own attempt at a definition:“Transmedia” is shorthand for a grab bag of production and distribution practices and audienceengagement techniques that have emerged over the past decade, and when taken together, promise anew kind of media experience.

DEFINITION… Transmedia Storytelling: > Across multiple media > Each contributes to story > Multiple entry points into story Henry Jenkins:Transmedia StorytellingThe term transmedia storytelling is, by all accounts, a coinage from Henry Jenkins, a much-published academic fromMIT, now on the faculty at the University of Southern California. Henry is a good source for info, particularly hiscourseware, which is published on his blog: http://www.henryjenkins.org/The speciﬁc article is from MIT Technology Review, "Transmedia Storytelling.”Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.ISBN 9780814742815. Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York: NewYork University Press. ISBN 9780814742815. Jenkins, Henry (2006). Convergence Culture: Where Old and New MediaCollide. New York: New York University Press. ISBN 9780814742815.

DEFINITION… > Immersion in story & its world > Game-like play > More than an adaptation Henry Jenkins:Transmedia StorytellingHenry Jenkins also says that most of the “transmedia” projects he has studied tend to focus upon oneof three goals:•Building out the “back story” of the “primary” story•Providing a different view of the world from the subjective point of view of one or more characters(swapping subjectivity).•Mapping the world in which the story takes place.

DEFINITION… “The art of conveying messages themes or storylines to mass audiences through the artful and well planned use of multiple media platforms." Jeff Gomez, Starlight RunnerJeff Gomez is a game designer who cofounded a ﬁrm in NYC called StarlightRunner which consults with media properties and brands to create transmediaproperties. He has been very active in evangelizing the term “transmedia,”including within the Producers Guild of America. This is his deﬁnition.http://www.starlightrunner.com/

DEFINITION… “A Transmedia Narrative project or franchise must consist of three (or more) narrative storylines existing within the same fictional universe on any of the following platforms: Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, Special Venues, DVD/Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, and other technologies that may or may not currently exist...The PGA defines criteria for various credits on films and television. In 2010 anew credit was approved for “transmedia” producer. Certainly in the years priorto this development, a new class of creative professional had emerged tocollaborate with the primary creative team on extending the story-world ofmedia properties, especially television. The PGA credit is an answer to that, butit seems to have triggered a lot of controversy, including a movement againstusing the term.

DEFINITION …These narrative extensions are NOT the same as repurposing material from one platform to be cut or repurposed to different platforms.” This is the last part of the deﬁnition, which makes a key point, which is thattransmedia is not what we used to call “shovelware” – e.g., dumping contentfrom one medium into another platform.

DEFINITION “Transmedia storytelling” is the label for when you’re creating a story as the primary storytellers and intending to tell your story across multiple channels.” Brian Clark, GMD Studios Brian Clark is a very active transmedia producer and a leader in the field. GMD Studios is based inFlorida. http://www.gmdstudios.com/ Clark’s Facebook post in mid-2011 tried to define thedifferences between the “East Coast” school of transmedia (where he counts himself) and the “WestCoast” wing, which is what the PGA definition came from, e.g., mother-ship type entertainmentproperties with extensions on additional platforms. http://www.facebook.com/notes/brian-clark/reclaiming-transmedia-storyteller/10150246236508993

DEFINITION “Transmedia storytelling is the future of marketing. And those who can span across formats and share their expertise will stand out in an age of Digital Relativity.” Steve Rubel, Edelman Digital This quote from high-proﬁle PR guru Steve Rubel sent shivers down my spine, only because I thoughtthe transmedia storytelling term was focused upon the artform, not commerce, per se. This is a goodexample of how the methods of the multi-platform storyteller, having been proven to be attractive tofans, are irresistable to marketers. http://www.forbes.com/2010/10/11/google-eric-schmidt-bieber-facebook-social-networking-storytelling-steve-rubel-cmo-network.html

EXAMPLE?So, is the Royal Wedding a transmedia story?

EXAMPLE?Or the Bible & Jesus Christ?

EXAMPLE?Certainly Star Wars is transmedia, with many different media and formats.Though, there are those in the ﬁeld who prefer to think of Star Wars as the ﬁrstmajor storytelling FRANCHISE, not really transmedia. What is the distinction?Whether new elements to the story are added in every platform, and thereforemake the experience of all platforms necessary for a full experience of thework.

YOU COULD SAY: Franchise. Multiplatform. ARG. Interactive. Multimedia. Connected EntertainmentThese are related words describing various story forms. Some would say thatnone is as complete as “transmedia.” Others say, to hell with the languagewars. Let’s get to storytelling!(Note: ARG=alternate reality game)

Is It Really Transmedia START Storytelling? Is it on multiple Is it a single media YES story or multiple platforms? stories NO SINGLE Its not Transmedia! Was the story transmedia from inception? MULTIPLE NO YES Are the pieces of Do you own the content linked and YES in narrative sync IP? YES with each other? NO NO Is it an Is it really a Alternate NO story, or is it a Reality Game? story universe? STORY Its not UNIVERSE Transmedia YES STORY Storytelling, its just a crummy Entertainment THEME Franchise. Cmon, is it *really* a story, or is it a theme? Its not STORY Transmedia Storytelling, YES WHATS MOST EFFECTIVE its an TO REACH YOUR TARGET adaptation. AUDIENCE Are there action ﬁgures? Which is more important when deciding how content NO will be delivered? IDENTICAL Its not UNIQUE Transmedia Are the pieces of WHATS MOST ORGANIC story content Storytelling, TO THE STORY unique or its integrated identical? marketing. YES Is the story just a light narrative Are there YES wrapper? casual games? NO NO NO Congratulations! Do the content Youre a YES fragments link Transmedia to each other? Storyteller! 2011 Steve Peters (www.about.me/stevepeters)Steve Peters (@vpisteve) has created a very engaging (and amusing) info graphic“Is it Really Transmedia Storytelling?” You can download here from Scribd:http://www.scribd.com/doc/59897583/Is-It-Really-Transmedia

Is It Really Transmedia START Storytelling? Is it on multiple Is it a single media YES story or multiple platforms? stories NO SINGLE Its not Transmedia! Was the story transmedia from inception? MULTIPLE NO YES Are the pieces of Do you own the content linked and YES in narrative sync IP? YES with each other? NO NO Is it an Is it really a Alternate NO story, or is it a Reality Game? story universe? STORY Its not UNIVERSE Transmedia YES STORY Storytelling, its just a crummy Entertainment THEME Franchise. Cmon, is it *really* a story, or is it a theme? Its not STORY Transmedia Storytelling, YES WHATS MOST EFFECTIVE TO REACH YOUR TARGETSteve Peters (@vpisteve) has created a very its an adaptation. engaging (and amusing) info graphic AUDIENCE“Is it Really Transmedia Storytelling?” You action download here from Scribd: Are there canhttp://www.scribd.com/doc/59897583/Is-It-Really-Transmedia ﬁgures? Which is more important when deciding how content NO will be delivered? IDENTICAL Its not UNIQUE Transmedia Are the pieces of WHATS MOST ORGANIC story content Storytelling, TO THE STORY unique or its integrated identical? marketing. YES Is the story just a light narrative Are there YES wrapper?

IS IT REALLY TRANSMEDIA? ✴ Is it on multiple media platforms? ✴ Was the story transmedia from inception? ✴ Is it a single story or multiple stories ✴ Are the pieces of content linked and in narrative sync with each other? ✴ Is it an Alternate Reality Game? ✴ Is it really a story, or is it a story universe? ✴ Do you own the IP? ✴ Cmon, is it ‘really’ a story, or is it a theme?Steve Peters (@vpisteve) has created a very engaging (and amusing) info graphic“Is it Really Transmedia Storytelling?” You can download here from Scribd:http://www.scribd.com/doc/59897583/Is-It-Really-Transmedia

IS IT REALLY TRANSMEDIA? ✴Are there action ﬁgures? ✴WHATS MOST EFFECTIVE TO REACH YOUR TARGET AUDIENCE ✴Which is more important when deciding how content will be delivered? ✴Are the pieces of story content unique or identical? ✴WHATS MOST ORGANIC TO THE STORY? ✴Are there casual games? ✴Is the story just a light narrative wrapper? ✴Do the content fragments link to each other?Steve Peters (@vpisteve) has created a very engaging (and amusing) info graphic “Is it Really Transmedia Storytelling?”You can download here from Scribd:http://www.scribd.com/doc/59897583/Is-It-Really-Transmedia

IS IT REALLY TRANSMEDIA? ✴ Its not Transmedia! ✴ Its not Transmedia Storytelling, its just a crummy Entertainment Franchise! ✴ Its not Transmedia Storytelling, its an adaptation! ✴ Its not Transmedia Storytelling, its integrated marketing! ✴ Congratulations! Youre a Transmedia Storyteller!Steve Peters (@vpisteve) has created a very engaging (and amusing) info graphic“Is it Really Transmedia Storytelling?” You can download here from Scribd:http://www.scribd.com/doc/59897583/Is-It-Really-Transmedia

PRECURSOR 1981: TAMARA. Interactive TheatreIn keeping with some of those words, I’ve collected a few examples of“precursors” from past decades. Tamara was a theatrical event launched inToronto in which the audience moved into different rooms and interacted withthe actors. The story would unfold differently, depending upon your journeyand what happened in each room. The show ran for many years in Los Angelesand New York, and was revived in Toronto. This is interactive, but not reallymulti-platform, though a CDROM was attempted.

PRECURSOR 1990: Hyperland BBC & Douglas AdamsDouglas Adams, the creator of A HITCHHICKERS GUIDE TO THE UNIVERSE builtthis work with the BBC at the dawn of the interactive media age in order toexplain and explore hyper-media. It could be said to be multi-platformbecause the links took the user into different environments and domains. Youcan tell that the ideas were ahead of the technology by looking at the clunkyfonts.

PRECURSOR 1992: MYST from Cyan & BroderbundMYST was a ground-breaking game series on CD-ROM back in the 90’s, whichremained the highest grossing title until the SIMS overtook it. Unlike the classic“videogame” format, which were usually shooter or role-playing games, MYSTwas a journey of discovery in which users proceeded into environments andworlds by ﬁnding clues and activating elements of the system. Again, not reallymulti-platform, but a new way to tell a story. MYST and its sequels are nowavailable in the iTunes store in both a free and $4.99 version.

PRECURSOR 1992: Bram Stoker’s DRACULA Game based on Coppola’s FilmFrancis Ford Coppola created a successful film adaptation of the Bram Stokernovel about the original vampire starring Gary Oldman, and Sony released agame version that utilized footage shot on the set of the film, which nudgesinto the terrain of multi-platform. We were excited to show it at the timebecause of the high profile of the director, who created iconic films like THEGODFATHER trilogy.

PRECURSOR 1995: In the First Degree Interactive CD-ROM from BroderbundAnother CD-ROM title from Broderbund was created by my friend HaneyArmstrong, a ﬂlmmaker who came up with this extension of the traditionalpolice procedural story by allowing the user to interrogate people.

PRECURSOR 1995: Johnny Mnemonic. CD-ROM from Sony ImagesoftThis William Gibson classic was made into a ﬁlm with Keanu Reeves, not wellreviewed, but signiﬁcant because Sony released a CD-ROM gamesimultaneously which allowed gameplay in a movie-like setting based upon thesame story. The casts were different.

PRECURSOR 2002: Push, Nevada: ABC & LivePlanet Play along with the mystery to win $$TV interactivity is a whole topic in and of itself. I included PUSH NEVADA in thispresentation because it did represent a breakthrough. Clues were pepperedthroughout the show and the website that allowed users to amass pointsleading to a winner. I think I remember that some clues involved mobile callingas well, Even though the show was not popular enough to be renewed, it was anearly example of multi-platform enrichment of a primary story.

PRECURSOR 2003: Battlestar Gallactica. AFI team: Schematic, Syfy, othersWhen the Sci-Fi Channel wanted to bring back the classic Battlestar Gallactica,representatives of the company, as well as Universal’s game division, came intothe AFI’s Digital Content Lab to create a multi-dimensional viewing experience.The user interface, created by Schematic’s Dale Herigstad, allowed seamlessmovement by the user in and out of the primary story (TV), a ﬁrst-personspaceship ﬂying experience (game), and deep data about the ship, thecharacters, and the backstory, which also included clues. This was not theversion launched at the time of the show, but inspired lots of others.

DEFINITION “STORYTELLING WITHOUT BOUNDS” Filmmaker and Transmedia Producer Lance WeilerLance Weiler has what is the most inclusive and inspiring deﬁnition oftransmedia. BTW, he gave a wonderful talk at Ireland’s Darklight Festival.http://www.youtube.com/watch?v=8Gzo6gel2mo&feature=player_embedded#at=146 His work is displayed athis home page. http://lanceweiler.com/

2006: LOST EXPERIENCE From ABC & Hi-ReSSo what might we consider breakthroughs in the development of this artform?The Emmy went to the LOST EXPERIENCE, an alternative realtiy game from ABCand Hi-ReS, a design and experience company. The TV Show’s millions of fanscould deepen their experience of the story world via this comprehensive site.

2007: HEROES 360 (later Evolutions) From NBC & Jesse AlexanderDitto with HEROES, which launched its 360 experience, later renamedEVOLUTIONS. Producer Jesse Alexander worked closely with the TV seriescreative team.

2007: The Truth About Marika ARG from Company P.My mind was blown by this Swedish alternative reality game from Company P,headed by Christopher Sandberg. They used TV, newspapers, the web, liveevents and kind of took over the whole country for a few weeks. The premisewas a fake event, but it was treated as real, and people engaged with the storyin a sort of ambiguous way, not knowing for sure what was real, what was fake,what was conspiracy, etc. Such a ﬁctional trope is often part of ARG work, andmany would date it back to Orson Welles and the Mercury Theatre’s radioadaptation of H.G.Welles’ WAR OF THE WORLDS in the 30’s.

2008: WHY SO SERIOUS? ARG from WB & 42 Entertainment42 Entertainment created this multi-platform alternative reality game thatinvited players during the period bridging the release of the two Batman films,especially the much-anticipated DARK KNIGHT from director Christopher Nolan.Because the Gotham setting and the tone and elements of the franchise are sowell known, the creators could play off of that with newspapers and othermedia released in sequence that contained clues and links to fill in the complexworld of the films.

YEAR ZERO: From Nine Inch Nails & 42EYEAR ZERO is an ARG that involved fans of the band Nine Inch Nails at concertsby leaving USB drives in restrooms. Those who activated the ﬁles containedtherein on a computer got instructions that involved them in launching the viralgame, which depicts a theocratic dystopian future, the subject of the album.

I LOVE BEES: For Microsoft’s HALO launch42 Entertainment produced an ARG called I LOVE BEES to support the release ofMicrosoft’s HALO game.

2010: CONSPIRACY FOR GOOD. Tim Kring & NokiaTim Kring created Heroes and in 2010 launched a global ARG called Conspiracyfor Good which was sponsored by Nokia. There were extensive live events thatcontained clues that could be retrieved via mobile augmented realitytechnologies, as well as many other events. The ﬁctional elements, especiallythose about the evil corporation, were quite elaborate. There was a real-worldcharity in Africa that beneﬁted from the activities as well.

2010: HEAD TRAUMA/Hope is Missing Lance Weiler/ Seize the MediaThis is just one of the properties created by Lance Weiler, whose breakthroughﬁlm THE BIG BROADCAST was itself a precursor to more complex storytellingcomponents being added beyond the ﬁlm “platform.”

2010: COLLAPSUS. From Submarine & VPROCOLLAPSUS was a documentary ﬁlm on Dutch television that was expandedinto a broader transmedia experience that integrated game-play, globalmapping, animation and other elements. Directed by Tommy Palotta, whoproduced Waking Life and A Scanner Darkly. Won the best interactive ﬁlm awardat the SXSW festival in 2011.

UNSPEAK (2011) From Tommy PallottaUnspeak extends this idea even more by making short ﬁlms that are outward manifestations of the world wide web. Weare a web browser with 20 tabs open at once all playing video and hyperlinking the universe. The effect is hypnotic, wedont know what will happen next, we dont know why the images are related to the words and our brains search tomake the connections. This is powerful propaganda. Think of it as propaganda about propaganda. We are now planningto make the clips available and a simple drag and drop editor. People may also upload their own videos and areencouraged to make their own unspeak transmissions. All of this is nice and egalitarian, but it doesnt really matter ifwe dont activate and empower the viewers. Our aim is to turn consumers into activists. To get people creativelyinvested is to truly interact. If they are spending the time creating, we know they are invested and spread the idea ofUnspeak like a media virus. We give them the tools, inspiration, and encouragement.

MISSION IMPOSSIBLE: GHOST PROTOCOLTommy Pallotta and other collaborators created a game to support the releaseof the ﬁfth Mission Impossible Movie called Cobalt, requiring a FacebookConnect log-on. http://cobalt.missionimpossible.com/

FACEBOOK CONNECT INTEGRATIONThis is the image generated at the end of the Cobalt game, which is thensharable on Facebook.

TAKE THIS LOLLIPOP “Interactive Live Facebook Connect Experience”Take This Lollipop is a cinematic website created in HTML 5 that requires usersto launch Facebook Connect and authorize the use of content in the account,which is integrated into a creepy, serial killer type short ﬁlm. http://www.takethislollipop.com/

TAKE THIS LOLLIPOP

ARCADE FIRE LEVERAGES HTML 5 VIDEOThe Wilderness Downtown. http://thewildernessdowntown.com/ : Indie RockBand Arcade Fire, working with ﬁlmmaker Chris Milk, released a song “We Usedto Wait” produced with HTML5. Users enter the zip code of the place they livedas a kid, and the video incorporates street scenes grabbed via Google MapStreet View feature. Milk has a slew of experimental video/web projects on hissite, including the 2012 FWA Best website (voted by fans), another collaborationwith a band, this time Danger Mouse. http://portfolio.chrismilk.com/

LEVERAGES HTML 5 VIDEOAIM HIGH is a web series about a teenaged spy. http://www.imdb.com/title/tt1730374/ “Viewers log on via Facebook” and by giving permission, becomepart of the story. https://www.facebook.com/AimHighSeries.

LONELY GIRL 15Lonely Girl 15 was a very inﬂuential early use of YouTube in which actorsportrayed young people’s lives as if they were really opening up to the world viavideo. Most people thought these were real people, and responded in kind withvideo uploads of their own, creating a tapestry of video storytelling that wasquite unique. What has become a standard feature of YouTube was pioneeredby Lonely Girl, and the lessons are being applied by the ﬁrm founded by itsproducers: EQAL. http://www.eqal.com/

THEATRICS Beckinfield (2011) – User submitted videos tell the story of a townBeckinfield is a new site that creates a story world, e.g., a mythical Californiatown, and a storyline that comes from the site, but the unfolding of the story iscreated by users who upload videos to the site that they have made incharacters. The originator is an actor who had been helping fellow actorsupload “audition” type videos to YouTube, and yearned for a way to let actorsuse their improv skills to further their careers. The site’s platform company,Theatrix, hopes to license the software to other content companies who want toleverage their experience.http://www.beckinfield.com/

Registered users get a weekly newsletter that provides a framework for “events”in the mythical town against which users can create their characters’performances in video, and then upload them. There are also auditions andcontests conveyed thru the newsletter.

L.A. NOIRE 2011: Rockstar Games Immersive décor, real photos, ebookA slightly different type of platform game from Rockstar Games, creator of theultraviolent GRAND THEFT AUTO series. The creators used extensive historicalresearch and photo and ﬁlm collections to create 1940s Los Angeles. Like agreat ﬁlm, the game creates a story-world. Technologies allow a much richerexperience than games and CD-ROMs from 15 years before. Plus, theycommissioned short stories, available as an e-book, from writers, includingJoyce Carol Oates and Andrew Vachss.

NEXUS HUMANUS 2011: Nexus Humanus from Michael GrantNexus Humanus is a new project, just launched, from Michael Grant, a best-selling children’s book author, and a transmedia team which has created aweb-based story world for his next story, which is focused on a mind-controlorganization. http://nexushumanus.com/

HOLLYWOOD Fourth Wall Studios - ﬁrst-look deal with Imagine EntertainmentFourth Wall Studios has a ﬁrst-look deal with Ron Howard’s and Brian Glazer’sImagine Entertainment, which got a lot of attention in Hollywood. We should belooking for original work coming from these guys. http://www.fourthwallstudios.com/

HOLLYWOOD RIDES and ELSEWARE: proprietary platformsThey raised $15m from LA’s richest man, Dr. Patrick Soon-Shiong, with accessto up to $200m for individual properties. They spent more than 3 yearsdeveloping their platform and toolset.

RIDES and ELSEWARE: proprietary platformsA GHOST STORY is the proof of concept for RIDES. Other announced projectsinclude DIRTY WORK, a comedy, ZOMBIES!, a horror-musical, GANGSTER GEEKS,post-apocalyptic story FLARE, and a kinetic action serial called CASCADE. Theircontent is “delivered via Internet browsers, smartphones, game consoles, TVs,movie screens and in the physical world.”

HOLLYWOOD New transmedia studio from Guillermo del ToroAnother of the many recent developments on the Hollywood transmediastorytelling front is Mirada, from fantastical ﬁlmmaker Guillermo del Toro(Pan’s Labyrinth, HellBoy, etc.) As a recent New Yorker proﬁle details, Del Torohas a fantastical vision of the world, perfect for storytelling without limits.http://www.deadline.com/2010/12/guillermo-del-toro-in-mirada-studio-launch/

TEST SUBJECTS NEEDED 42 ENTERTAINMENT has created HUMAN PRESERVATION PROJECT, an ARG backed by Wrigley GumHUMAN PRESERVATION PROJECThttp://survivalcode.com/Test subjects neededProject ICEFLY

COMPLEX & IMMERSIVE Online rumors > Live events > Phone Calls > YouTube videos > Website A > Backstory/Themes Revealed > Register > Objects with QR code mailed > Website B > Back Story > Videos > Gameplay & Levels > Codes from Gum > Facebook > Secrets… > ???HUMAN PRESERVATION PROJECThttp://survivalcode.com/Test subjects neededProject ICEFLY

RUMORSHUMAN PRESERVATION PROJECThttp://survivalcode.com/Test subjects neededProject ICEFLY

EVENTSHUMAN PRESERVATION PROJECThttp://survivalcode.com/Test subjects neededProject ICEFLY

OBJECTHUMAN PRESERVATION PROJECThttp://survivalcode.com/Test subjects neededProject ICEFLY

WEBSITEHUMAN PRESERVATION PROJECThttp://survivalcode.com/Test subjects neededProject ICEFLY

FACEBOOK SITEHUMAN PRESERVATION PROJECThttp://survivalcode.com/Test subjects neededProject ICEFLY

INDIE MODELS • No-budget aesthetic • Grass-roots / DIY / “some budget” • R&D • Fan Incubation • Fan Funded (think pre-sale) • Arbitrage plays • Audience Product • Infrastructure PlayA review of the Brian Clark talk at Henry Jenkin’s transmedia class can be foundat http://metascott.com/2011/09/21/brian-clarks-the-business-of-transmedia/

REMEMBERING 9/11Clark’s GMD Studios created an interactive experience with the Smithsonian toremember 9/11. Simple, text and image-based. http://conversations.si.edu/

ROBOT HEARTLance Weiler created an educational transmedia experience for kids in twoschools, one in Montreal and one in Los Angeles, who manipulated a robotacross the U.S. He calls this storytelling R&D. http://robotheartstories.com/aboutHe used IndieGoGo to raise funds to support the rollout of the project: http://www.indiegogo.com/Robot-Heart-Stories

CHRISTY DENAAustralian Christy Dena offers “pre-orders” for her new transmedia experience,which involves audio overlays of the story elements. http://www.authenticinallcaps.com/

SNOW TOWNJan Libby has turned to Kickstarter to raise development funds for herinteractive app platform within which she hopes to create a more fully realizedversion of her story SNOWTOWN. http://www.snowtown.me/

KICKSTARTERA search on Kickstarter shows 14 “transmedia” projects, and quite a few werefunded.

BOOKSThe best single book on “immersive media” is The Art of Immersion by FrankRose. http://www.frankrose.com/index.htm. He also posts on his blog which he calls“Deep Media,” another term that describes the transmedia universe well. http://www.deepmediaonline.com/Henry Jenkins’ CONVERGENCE CULTURE is a seminal work. http://www.amazon.com/Convergence-Culture-Where-Media-Collide/dp/0814742815

E - BOOK http://cl.ly/Cxb3Simon Staffens ebook, “One Year in Transmedia” http://cl.ly/Cxb3

WEBSITESThere are a large number of blogs and other sources about transmedia and related topics: ARGN.com unﬁction.com/ movieviral.com/ jawbone.tvpowertothepixel.com workbookproject.com yousuckattransmedia.com

EVENTS Story World DIY Days Futures of Entertainment Transmedia HollywoodUpcoming conferences in transmedia-related ﬁelds include:http://www.storyworldconference.com/ehome/index.php?eventid=20801&tabid=29548&http://diydays.com/http://www.convergenceculture.org/http://legacy.tft.ucla.edu/transmedia/

MEET UPSThe Los Angeles Meet-up has a website, in addition to its Meetup board: http://transmediala.net/. Also, check out the new wiki, which has a lot of interestingcontent: http://transmediala.pbworks.com/w/page/48427037/FrontPage

MEET UPSThe New York Transmedia Meetup has just transformed itself into a non-proﬁtcalled StoryCode.org. The website is not yet launched but to contact, write:Info@storycode.org

Thank you for your attention. Let me know how I can help.Nick DeMartino Consulting provides strategic services to companies in thedigital media and content markets, including marketing initiatives, strategicalliance and partnerships, business development and more. Details available athttp://www.nickdemartino.net

NICK DEMARTINO• TWITTER: • WEBSITE: @nickdemartino www.nickdemartino.net• SLIDESHARE: • BLOG (and newsletter): www.slideshare.net/ www.nickdemartino.net/ nickdemartino blog• EMAIL: • DELICIOUS: nrdemartino@gmail.com www.delicious.com/ aﬁnickd/transmediaPlease feel free to contact me with questions. I will be posting this presentation onSlideShare. If you give me your card after the talk, I’ll send it to you, as well. Pleasecheck out my website, and if you like my blog posts, sign up for my newsletter. Much ofthe research for this talk can be found on my Delicious site, under either transmediatag.

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