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From Works to Worlds - Managing Worlds of Intellectual Property
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From Works to Worlds - Managing Worlds of Intellectual Property

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This presentation introduces a new approach to entertainment at a conceptual level, with an emphasis on building worlds of intellectual properties rather than just isolated, mono-medium works.

This presentation introduces a new approach to entertainment at a conceptual level, with an emphasis on building worlds of intellectual properties rather than just isolated, mono-medium works.


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  • 1. FROM WORKS TO Scott Walker http://metascott.com managing worlds of intellectual property WORLDS
  • 2. this presentation introduces a new approach to entertainment at a conceptual level. its purpose is to generate discussion and encourage feedback as a way to further explore new methods for entertainment creation, distribution, consumption, and collaboration. comments are welcome and appreciated: scott@metascott.com
  • 3. Traditionally, commercial entertainment companies have taken a single-medium approach to content, prohibit audience participation in official content creation, and grapple with industry-specific limitations.
  • 4. Traditional Entertainment Model Audience participation/ contribution to official property not allowed content sourced using a single-industry / single-medium approach Film  Script FilmMovie  Studio Strategy focuses on single medium/work Value-add normally limited to one industry TV  Script TV  ShowTelevision  Studio Inquiry BookPublisher
  • 5. Traditional Entertainment Model Game Movie  Studio Video  Game   Dev.  /  Dist. Film Secondary extensions are normally discrete, disconnected rollouts Canonical conflicts are common Audience participation/contribution to official property not allowed additional platform rollouts (if any) are discrete, disconnected afterthoughts TV  Script TV  Show Strategy focuses on single medium/work Value-add normally limited to one industry Television  Studio Inquiry BookPublisher Film  Script FilmMovie  Studio
  • 6. Worse, when grappling with challenges, legacy industry responses are often myopic.
  • 7. “What does digital content mean to publishers?” “What does fan generated content mean to studios?” “What does transmedia mean to networks?” Important questions, to be sure, but there’s a more insightful one to ask.
  • 8. What does it all mean to entertainment?Q:
  • 9. Going forward, entertainment should be an exercise in managing intellectual property, not just medium-specific content production. A: What does it all mean to entertainment?Q:
  • 10. The digital landscape should be embraced.A: What does it all mean to entertainment?Q:
  • 11. Audiences should be invited to co-create value.A: What does it all mean to entertainment?Q:
  • 12. In short, approach entertainment from a more comprehensive, intellectual property perspective.
  • 13. New Entertainment Model SOURCE IP sourced from a medium-agnostic perspective but evaluated on multi-platform potential. Use a transmedia approach by viewing sourced content as the foundation for a world, not just an isolated work. Ensure marketing efforts align with and support all multi- platform narrative extensions. Each world component cross-markets and supports existing world components. MAP IMPLEMENT MANAGE SUSTAIN Audience participation becomes an additional input for managing and expanding the world IP. every operational aspect of company is aimed at managing intellectual property
  • 14. evaluate filter select TV Movie Game Novel RPG ARG TV Script Movie Script Game Design Spec Casual Game Comic Short Film Conceptual content Existing content Agnostic Sourcing Holistic Valuation Comic SOURCE strong stories with world-building potential IP New Entertainment Model
  • 15. identify platforms package produce TV Movie Game Novel RPG ARG Comic MAP IP Release Date Season/Show Dates comprehensive content planning Medium Rollout New Entertainment Model
  • 16. unified world integrated marketing IMPLEMENT TV Comic ARG IP Movie Novel Game cohesive storytelling + coherent world building New Entertainment Model content matched to appropriate medium/channel
  • 17. participation SUSTAIN the best consumer-generated content becomes (monetizable) canon 1 2 1 2 1 Games Novels Movie unofficial consumer-generated content official consumer-generated content IP 3 New Entertainment Model
  • 18. community world rights brand MANAGE IP community rightsbrand world components are managed as interrelated elements New Entertainment Model
  • 19. - medium-agnostic sourcing of content - focus on developing IP worlds, not isolated works - multi-platform valuation - emphasis on digital distribution - value co-creation through audience participation While some aspects of entertainment would remain the same, the key differences make all the difference:
  • 20. this presentation inspired by: Guy Gonzalez (http://loudpoet.com/2010/10/05/the-ideal-21st-century-publisher-a-remix/) & Simon Pulman (http://transmythology.com/2010/09/14/the-future-of-publishing/)
  • 21. Title slide image: “Bubble World” by Eric Tastad [creative commons BY-NC-SA 2.0] This presentation licensed under a Creative Commons Attribution 3.0 United States license. To view a copy of this license, visit http://creativecommons.org/licenses/by/3.0/us/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. http://metascott.com