Paul Burke’s challenge: ‘spacing, weight and flow between story-experience-elements.... Specifically: moving people between elements, exploring the opportunities for audiences (and the project) in the gaps, deciding if and when to ask the audience to do 'work', how we reward that irk beyond badges.&quot; --------------------------------- #1.: Alison “There are panels on 'transmedia' rising up everywhere, but nothing that conclusively nails down 'STORY' - and then disseminates onto transmedia. I strongly advocate that the term 'transmedia' is reliant on a robust, invigorated story, upheld by an elegant architecture that makes it 'transmedia ready'. StoryWorld Conference will be a game-changer - will help to make storytelling as we now know it an historical term, in the way that 'talkies' helped revolutionise cinema back in the 1920's. 1) Story Design = Architecture 2) why people are moving UX – How it is how you move people? And reward that behavior? => 5Es experience design
KH and SO = experimential collaboration RAISE your hand if you are a CONTENT CREATOR (Not a content maker, what then?) YOU have a DIY Your Card and later Transmedia in the room to give you more cards (some have complete deck of cards) - Tool for CREATIVE DESIGN THINKING Cynthia Jabar Paul Burke Lorraine Hopping Egan
EMERGING ART FORM = EMERGING GENRES TOO – Ever Changing Technologies ->Transmedia CREATORS need to think about design apart from technology ... WHY Stories ARE TOOLS (as with TECH) => communicate Experience - Emotion - Information – Knowledge DESIGN GLOBALLY AND SPECIFICALLY -> STORY ARCHITECTURE ! CRAFTING YOUR DESIGN !
Useful Distinctions = Steve PETERS (No Mimes Media) 3 forms of transmedia FRANCHISE: extends story thru multi-media MARKETING: supports property or brand NATIVE: designed as transmedia from inception ( Shattering the Fourth Wall with Social Media - How the Future Will Tell Stories slideshare.com)
-------------------- YouTube 2009 : http://youtu.be/Cxfkg3RaRjs http://youtu.be/-tMa8wtXmhQ Sprinkle some happiness on your life today by watching the full version of the Open Happiness music video, directed by Alan Ferguson. For a smile, pass it on your friends! Im sure it will brighten up their day as well :)
T IM KRING: demonstrates how the role of the audience is being developed - Evolution of role of Hero -> Anyone on show can be hero C for G - ANYONE can be hero - user experience model BECOME AN EPIC STORY // MYTHOLOGY // CHORAL // CORAL // RHIZOMIC ---------------------------- Tent Pole = primary project in a Franchise (Star Wars movies are the tent pole that drive all the merchandising // Heroes TV series was the Tent Pole that was the central storyline for the other spinoffs ----------------------------------- http://fr.wikipedia.org/wiki/Heroes http://www.zap2it.com/tv/news/zap-nbcupfronts-heroesorigins,0,5536579.story?coll=zap-news-headlines the show and embarking on a quasi-spinoff called &quot;Heroes: Origins.&quot; Combined, the shows will account for 30 original episodes next season. série télévisée, il s’agit en fait d’un univers narratif transmédia, une histoire de gens ordinaires dotés de capacités extraordinaires. Créé par Tim Kring, l’univers de Heroes comporte presque tous les éléments sur lesquels une fiction transmédia peut être racontée.Dans l’histoire de Heroes, tous les Héros sont interconnectés par leur patrimoine génétique leur offrant des capacités extraordinaires. Diffusé et produit par NBC, le point central de l’univers transmédia sera la diffusion télévisuelle des épisodes.Hiro Nakamura, un des personnages principaux, dispose d’un blog personnel. Claire Bennet, la pom pom girl « incassable » s’affiche avec un profil MySpace. Un forum en ligne est dédié aux 9th Wonders, un Comic dont il est question dans la série et qui est dessiné par Isaac Mendes, un des personnages de celle-ci. Forum sur lequel les fans de la série s’échangent les théories les plus saugrenues de conspiration au sein de l’univers Heroes. Enfin, les sites officiels des entreprises citées dans la série sont eux aussi disponibles.L’ensemble des épisodes de la série est disponible en ligne via un portail dédié, maintenu par NBC et sur lequel les fans peuvent aussi consulter des digital comics mettant en scène les différents personnages dans des histoires complémentaires à celles de la série.NBC a donc bien conscience de l’importance d’une présence multiplateforme de cette série de même que de celle de l’entretien de la conversation des fans autour de celle-ci. &quot;Heroes&quot; creator Tim Kring and Nokia today unveiled Conspiracy For Good (CFG, www.ConspiracyForGood.com ), an inaugural movement that blends online and real-world tasks to effect social change through audience participation. create a dramatic, fictional experience using interactive theatre, mobile and alternate reality gaming (ARG), music and physical participation to do good in the world. Participants will become part of the plot development and will find the necessary tools and clues to move the narrative forward and into the real-world, ultimately creating social and educational change for the Chataika Basic School, located in the village of Chataika in eastern Zambia.
FLIP MODELS ! DRAW : create narrative gestures = enticements to narrative content &quot;LEFT HANGING&quot; (1000 and 1 Night) No End (Godard) = POSITIVE NARRATIVE SPACE LOL CATS
STORY STRUCTURE – WHAT IS THE EXPERIENCE OF THIS STORY STRUCTURE ? http://athinklab.com/transmedia-storytelling/case-study-example-the-three-little-pigs/
42 Entertainment .......
IT IS NOT FOR IT IS WITH
STORYFEELING – STORYFILLING – CARING = to take of the audience !
One Layer // Must start SOON = related to DESIGN and STORYTELLING (Fav) ONLINE STRATEGY Communication = Human Behaviors and Relationships ----------------------- Owned + Earned + Paid MEDIA ( http://www.customerthink.com/blog/social_media_earned_media_and_paid_media) The social element implies an Openness + Transparency in Communication + Cooperation Collaboration // Co-creation Advertising Age , earned media includes the media brands cultivate via Twitter, Facebook, blogs, viral marketing campaigns... ...form of Consumer-generated content (CGC) Companies earn positive consumer-generated content if they enable COMPELLING CONSUMER EXPERIENCE. peer-reviews and other forms of CGC is trusted and has a growing influence on customer purchase decisions. Diff : Paid media, tradition advertising, is producing diminishing returns. Think of earned media as PULL, as a force that attracts customers to potential experiences. Think of traditional advertising as PUSH, a company telling consumers what they should buy. Both can impact sales, however, PULL is much more likely to result in loyalty and advocacy.
THE IDEA // REASON (Maieutics) Lance Weiler May 2011 -1- STORYWORLD -2- DESIGN -3- GAMEPLAY -4- COMMUNITIES -5- PRODUCTION -6- BUSINESS MODELS -7- MULTI-PLATFORMS ------------------ Family 1 – STORYWORLD The Storyworld is the universe of an enlarged story based on a synopsis and narrative framework. It encompasses all possible ramifications and constitutes the depth and richness of a transmedia creation or experience. Family 2 - DESIGN A transmedia experience is meant to be lived, albeit virtually. Both the staging and the artistic direction give life to the experience. The members are translating the visions of the creator into images, apps, graphics, sounds, video and all other necessary forms, bridging the gap between reality and imagination. Family 3 - GAMEPLAY The game mechanics and the narrative are intricately linked to one another. Not only do the game mechanics encourage and engender user interaction, but they also speak to the spirit of creation and engagement that characterizes the project. Family 4 - COMMUNITIES We take into account the users' habits, needs and expectations. The analysis of the user behavior is essential to the design process and the production. Careful integration of user knowledge and practical usages in the making of the interactive experience empowers users to generate their own creative content. Family 5 - PRODUCTION Professionals from creative industries and their respective organizations work hand-in-hand with collaborators in the conceptualization, the management, and the production of a transmedia project. Thus we are exploring new methods of collaborative work. Family 6 - BUSINESS MODELS Finding its roots in the creative industry, a transmedia project is ad-hoc and is meant to be reinvented and reconfigured. Its greatest challenge is thus accommodating diverse contributors and users in the hopes of finding a project that promises sound financial return. Family 7 - MULTI-PLATFORMS Digital platforms and media can be integrated into transmedia experiences, creation and production. Multi-platforms encourage users to explore different digital territories. Some are easily accessible and others can put even the biggest geek into a passionate transmedia storyworld. But technology still isn't the most important character.
Related to STORYWORLD and all other LAYERS // FAMILIES DIY YOUR CARD : can leave a written comment on the post card Go to QUESTIONNAIRE Make your card, get helped by Fairies and Alchimists
FLIPPING MODEL // REVERSE MODEL // NAVIGATING THE SILOS SEVERAL LAYERS OF EXPERTISE working with SYNTHESIST (producer FOR the transmedia world) Doctor : généraliste NATIVE TRANSMEDIA takes advantage of the REVERSE MODEL MARKETING PROUCTION CREATION = INTEGRATED (simultaneously) CREATE PRODUCE MARKET = MARKET PRODUCE CREATE INTEGRATION
INTEGRATION OF THE KNOW-HOWS => SYNTHESIST ==== BEST PRACTISES IN TRANSMEDIA CREATION RING MASTER The combining of separate elements or substances to form a coherent whole.
Tim Burton Alice
1. Story Architecture Crafting Transmedia Design StoryWorld Conference & Expo November 2, 2011 @StoryWorldConf #SWC11 Siobhan O’Flynn & Karine Halpern @Sioflynn @KHenthuZiasm
2. <ul><li>TRANSMEDIATORS </li></ul><ul><li>&quot;Everyone is a storyteller!&quot; </li></ul>WHO ARE WE?
3. CREATORS FANS STORIES THE IMMERSIVE WORLD
4. PRINCIPLES FOR DESIGN <ul><li>Non-linear SPATIAL storytelling </li></ul><ul><li>Break the 4th wall => Augmented </li></ul><ul><li>Social (relationships, sustainability, Social Media Marketing) </li></ul><ul><li>Participatory and/or UGC </li></ul>
5. Two Poles FILM or BOOK or GAME or any I.P. TRANSMEDIA Tent pole Other media unimportant Silo design One-way communication unresponsive Distributed Other media equally important Integrated design Networked communication responsive * IP = Intellectual Property
6. Two Poles Marketing Transmedia Crossmedia Social Media Transmedia Integrated strategies Native Transmedia
7. Two Poles in Transmedia STORY EXPERIENCE Linear Story Non-Linear to be reconstructed as a whole Story designed Loose Narrative Game Design As Narrative Architecture Participatory Story Emergent
8. Are you more Transmedia Storytelling or Transmedia Experience?
9. Get more of the plot organically &quot;I believe that storytelling has the power to create positive change in the world. Audiences today want to be more involved in stories&quot; Tim Kring 2010 Digital Emmy Pioneer Award winner for transmedia storytelling
10. Shift to SPATIAL DESIGN for transmedia stories <ul><li>Non-linear narratives open new narrative SPACES </li></ul><ul><li>FANS move between multiple platforms </li></ul><ul><li>Characters & story ARCS extend in time & platforms </li></ul><ul><li>Multiple points of ENTRY into the story universe </li></ul><ul><li>Interactivity: affect + remix + write STORY </li></ul><ul><li>Interactivity: innovative interface DESIGN (UX) </li></ul><ul><li>Linear Content = asset for passive audience </li></ul>