Designing for Attention Transmedia Singapore Masterclass part 1


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A Masterclass with Transmedia SG, Singapore Media Academy, May 29, 2013

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Designing for Attention Transmedia Singapore Masterclass part 1

  1. 1. Designing for attentionTransmedia’s New Narrative Practices Part 1Siobhan O’Flynn, PhDInteractive Storytelling c. 2001Transmedia SG Singapore Media AcademyMay 29, 2013
  2. 2. • David Trottier’s High Concept• ‘what if?’ premise... core of pitch• familiar... with a twist• a great, original idea so you can see‘movie’ in an instantPower of Story
  3. 3. archetypal myth with a twist
  4. 4. High Concept today...
  5. 5. what’schanging?
  6. 6. Designing formultiplescreens• consider context of use• design for many• design for distinct affordancesWHICH IS FIRST SCREEN?
  7. 7. Web 2.0• networked intelligence• communities of interest• sharing vs. commercial economies• participatory mediaContext is nowM2M & DIWOsocial connectivity...
  8. 8. User-Defined Footer Text
  9. 9. User-Defined Footer Text
  10. 10. User-Defined Footer Text
  11. 11. Twilight Brazilsubway kiosk campaignCase Study Vidieo:
  12. 12. Twilight Brazilsubway kiosk campaignDEC. 2008Aaron Kim image 2:
  13. 13. DIGITAL CAMPAIGNRESULTS:Over 4.5 million people reached by thesubway campaign in over a month.One of the top 10 box-offices in 2008 inBrazil.Over 180,000 content downloads, banners, and a strong communitycreated for the fans in Brazil.
  14. 14. • Transmedia experiences can leadaudiences across platforms• Create new opportunities forengagement & consumptionContext is nowSECOND Screen
  15. 15. Content is nowmobile
  16. 16. Or are we looking for good stories?Attention Fragmentation?
  17. 17. Natives & the Myth of ADHD
  18. 18. Transmedia Storiesare those which ‘unfold acrossmultiple media platforms witheach new text making adistinctive and valuablecontribution the whole.’Henry Jenkins, ConvergenceCulture 2006Power of ...
  19. 19. multiple points of entry
  20. 20. ‘Branded entertainment comes andgoes in a flash, but transmediastorylines are timeless because theyare built on a foundation of classicnarrative structure.They’re goodstories.’‘Transmedia bibles build onarchetypal patterns & identifying thecore theme & values of a story.Jeff GomezTransmediastoryWorldsmultiple entry points lead to ...
  21. 21. traction of immersive storyworlds
  22. 22. • mythic story: the Dying & Rising God• Osiris, Innana, Persephone, Jesus, Optimus Prime...Stereotype?? why does it work?Steve Peters, No Mimes Media
  23. 23. we know stories sell...2700% markup
  24. 24. define the following:story to..storybible...•the story: everything that isknown...•the key characters, the secondarycharacters, & important backstory•individual and societal conflicts,•the social structure, beliefs,ideologies•snapshot of the world (its past,present and future), & itsconflicts, stresses,accomplishments, unusualcharacteristics (physics,magic,social order).•create a detailed vision of a storyworld•identify the genre of your storyand its core themes (timeless),then consider, is there anarchetypal story or myth thatyour story comes close to?•define the vision of present &future of the story & storyworld•what is your brand?•decide whether your property willbe open-ended allowing for newdirections & properties? or will itend?
  25. 25. how do you design for interactivity?begin with understanding your audience &think through user experience< UX >Storytelling changes when you add interactivity
  27. 27. people & human interaction
  28. 28. design for what people do...& what you think they may do...
  29. 29. story in contextTheme/coreExperienceNarrative / Storyconcept to storyKey?
  30. 30. story in action = experienceTheme/coreExperienceNarrative / Storystory to experienceKey?Case Study Vidieo:
  31. 31. context... we expect interactivity
  32. 32. context... creating experiences...
  33. 33. design as invitation to engage...
  34. 34. live where your audience lives...
  35. 35. ‘Kotex first looked through thousands of women’spinboards in search of 50 power users with a largenumber of engaged followers on Pinterest who could befuture Kotex customers. They then studied the 50women’s boards to get a better understanding of some ofthe things they are passionate about. After the analysis,they created custom gift boxes for each woman filled withgoodies they believed would resonate with them. I wouldestimate they invested between $50 and $100 per giftbox.The surprise gifts created the response Kotex had aimedfor in almost all 50 women. They chatted online aboutKotex and shared images and stories about theircustomized and unexpected gifts on Pinterest, which thenfurther extended the campaign into a wider community.When the case study video was posted on YouTube,Kotex had 2,000 interactions between the 50 women andtheir friends and almost 695,000 generated from thecampaign.’M2M & DIWO
  36. 36. M2M & DIWOThe surprise gifts created theresponse Kotex had aimed for inalmost all 50 women. Theychatted online about Kotex andshared images and stories abouttheir customized and unexpectedgifts on Pinterest, which thenfurther extended the campaigninto a wider community.When the case study video wasposted on YouTube, Kotex had2,000 interactions between the50 women and their friends andalmost 695,000 generated fromthe campaign.
  37. 37. In interactive design,people are your mediumSusan Gorbet UX Designer
  38. 38. Siobhan O’Flynn, on Twitterthank you