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Transmedia Storytelling

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This was developed for the Telefilm/NFB Melting Silos workshop (Nov.6 2009) and the What's Going On Salons series (Nov.7 2009), both Vancouver

This was developed for the Telefilm/NFB Melting Silos workshop (Nov.6 2009) and the What's Going On Salons series (Nov.7 2009), both Vancouver

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    • 1. TRANSMEDIA STORYTELLING Siobhan O’Flynn narrativenow.blogspot.com November 2009
    • 2. DIGITAL STORIES TODAY... TRANSMEDIA CONVERGENT PARTICIPATORY INTERACTIVE
    • 3. what’s convergent??? DIGITAL TRADITIONAL MEDIA NARRATIVES
    • 4. three ways of thinking about today’s online ‘stories’ & storytelling
    • 5. FORM 1 STORIES GAMES
    • 6. FORM 1
    • 7. FORM 1 CHARACTERISTICS?
    • 8. FORM 1 CHARACTERISTICS? STRUCTURE SPATIAL CLOSURE OPEN PLOT EMERGENT REVEALS STORY PLAY = STORY
    • 9. FORM 2 EXTENDED INTERACTIVE NARRATIVES NARRATIVES
    • 10. FORM 2 DISTRIBUTED INTERACTION CUT SCENES CHANGES FIXED STORY
    • 11. INTERACTIVE STORYTELLING
    • 12. World without Oil • ARG • Serious Game • ‘What if’ scenario? • How would your life change without oil? • world without oil March-June 2007
    • 13. the landscape has changed....
    • 14. Jordan Weisman 42 Entertainment
    • 15. Jordan Weisman 42 Entertainment • creator of A.I. ARG, I Love Bees, Why so Serious? • "If we could make your toaster print something we would.”
    • 16. 42 Entertainment
    • 17. 42 Entertainment • “Anything with an electric current running through it. • A single story, a single gaming experience, with no boundaries. • A game that is life itself."
    • 18. MAMET
    • 19. FORMS 1& 2 STORY CONTROL CHOICE
    • 20. BOTH ARE PARTICIPATORY EXPLORATORY FOSTER UGC SOCIAL
    • 21. 4 PROPERTIES OF DIGITAL ENVIRONMENTS • PROCEDURAL - RULE BASED • PARTICIPATORY - INVITATION TO ACT • SPATIAL - WORLD, PHYSICS, NETWORK • ENCYCLOPEDIC - eg. THE SIMS
    • 22. WHAT DO STORIES DO?
    • 23. 2 VIEWS
    • 24. • “Database and narrative are natural enemies.” • Lev Manovich (2001) • http://vv.arts.ucla.edu/AI_Society/manovich.html
    • 25. DAVID MAMET 3 USES OF A KNIFE • ‘Our survival mechanism orders the world into cause-effect-conclusion.’ • art & drama = ‘the human capacity to order the intolerable into meaning’
    • 26. STORIES/storytelling are innate and function as the cognitive tool for organizing the world into a coherent, meaningful experience.
    • 27. • Any meaningful negotiation of a database (vs. random) is potentially a story • either of what is found • or of the experience of finding • Digital environments are story-spaces waiting to happen • waiting for structure / design
    • 28. FORM 3
    • 29. FORM 3 LINEAR NON-LINEAR story fragments plot connections progression exploration
    • 30. FORM 3
    • 31. SWITCHING MORTEN SCHøDT 2003
    • 32. INTERACTIVITY CONTROL CHOICE
    • 33. INTERACTIVITY DESIGNER USER CREATOR GAMER AUTHOR PARTICIPANT
    • 34. INTENTION GOAL ORIENTED EXPLORATORY
    • 35. INTENTION GOAL ORIENTED: EXPLORATORY: PUZZLES PLAY QUESTS SPATIAL GAMES EMERGENT TASKS ENCYCLOPEDIC
    • 36. PARTICIPANT IS CO-CREATOR
    • 37. DIGITAL MEDIA = RULES
    • 38. DIGITAL MEDIA = RULES
    • 39. DIGITAL MEDIA = RULES STORIES = GAMES = • GENRES • PLOT • GENRES • WORLD • GOALS • INTERACTIVITY
    • 40. STORIES LINEAR/ EMERGENT NON-LINEAR CONTROLLED ACTIVE SCRIPTED ENGAGEMENT
    • 41. STORIES CAUSE & EFFECT LINKING THROUGH = PLOT ASSOCIATIONS
    • 42. STORIES DYNAMIC RELATIONS
    • 43. STORIES CONTROLLED DYNAMIC STORY THREADS RELATIONS
    • 44. STORIES STORY STORY CONTAINED CREATED IN BY DESIGN PARTICIPANT
    • 45. IF INTERACTIVITY ≠ PLOT, HOW TO CREATE NARRATIVE COHERENCE? = STORY = IMMERSION = SATISFACTION
    • 46. ROOTS OF NARRATIVE
    • 47. ROOTS OF NARRATIVE • EPIC: Gilgamesh, Homer • ARISTOTLE • ARCHETYPES: Myths; folk tales, fairy tales • GENRES = PLOT FORMS
    • 48. THE EPIC
    • 49. THE EPIC • HOW DO YOU CONTROL A NARRATIVE OVER MULTIPLE DAYS TELLING? • poet’s ‘word hoard’ • patterns, set pieces, echoes, allusions, short hand notation • spatial design
    • 50. HBO IMAGINE
    • 51. POETICS LITERATURE • THEMES • PATTERNS • IMAGES • DOUBLES • INVERSIONS • TONE
    • 52. POETICS FILM • MISE EN SCENE • LIGHTING • PACING/EDITING • POINT OF VIEW • DEEP STRUCTURE (MCKEE)
    • 53. POETICS DIGITAL MEDIA • INTERFACE DESIGN (click vs. zoom....) • TACTILITY • AESTHETIC (cell phone, webcam, vs. HD) • FUNCTIONALITY (ease vs. resistance)
    • 54. hi-res.net
    • 55. bigspaceship.com
    • 56. Tip #1 USE WHAT YOUR AUDIENCE ALREADY KNOWS
    • 57. ARISTOTLE
    • 58. ARISTOTLE • FUNDAMENTALS OF GOOD DRAMA: • PLOT • CHARACTER • SETTING • UNITY OF TIME & PLACE • 3 ACT STRUCTURE - rising/falling action
    • 59. GENRE = CONTRACT
    • 60. PLOT = CONTRACT
    • 61. DESIGN = NARRATIVE
    • 62. PLOT • HOW YOU TELL (delivery & genre): • linear & non-linear plots • in medias res • causally connected i.e.: • all events connected through cause and effect • DISCOVERY & REVERSAL - SWITCHING
    • 63. SCOTT MCCLOUD
    • 64. ‘BLOOD IN THE GUTTER’ = IMMERSION
    • 65. LESS IS MORE
    • 66. IMMERSION = SATISFACTION
    • 67. IMMERSION = SATISFACTION • ACTIVE CREATION OF STORY • COGNITIVE ENGAGEMENT OF AUDIENCE • ‘WE - THINK’ / COLLECTIVE INTELLIGENCE PHENOMENON
    • 68. story & plot = USER experience IN FILM: 1Premise - ‘idea that inspires the story’ the ‘what if?’ factor 2v.s. Controlling idea: ‘the story’s ultimate meaning expressed through action & aesthetic emotion of the last act’s climax’ (McKee)
    • 69. in digital media core of story = experience • The controlling idea = the experience • The centralbe the centralexpressed through the plot should also experience experience that defines the interactive experience • ‘Pirates all the way down...’
    • 70. ASYLUM 626
    • 71. OUR CHOICES SHOULD BE MEANINGFUL & DRIVE THE STORY / OUR EXPERIENCE
    • 72. AUDIENCE & MCKEE’S PLOTS • Archplot: Chinatown, Matrix, Star Wars... • Miniplot: Blow Up, Short Cuts, • Antiplot: Wayne’s World, Gerry • BE AWARE OF YOUR STORY DESIGN
    • 73. REVERSAL & DISCOVERY • the most powerful elements of emotional interest in Tragedy are Reversal and Discovery as these elements change our understanding of the story(s)
    • 74. FORM 3
    • 75. NON-LINEAR PLOTS USE • JUXTAPOSITION: • MEANWHILE / FLASHBACKS • REVERSALS & DISCOVERIES THAT CHANGE WHAT WE KNOW • RECONFIGURE AS NEW STORY
    • 76. • ‘Of course my films have beginnings, middles, and ends, just not necessarily in that order.’ • Godard
    • 77. CHARACTER • DEFINED BY ACTIONS (GAMES) • OUR CHOICES DEFINE WHO WE ARE, NOT OUR THOUGHTS & OPINIONS • CHARACTER IS THEN A FUNCTION OF THE PLOT • POV - AVATAR, FIRST-PERSON
    • 78. CHARACTER SIMPLE VS. COMPLEX
    • 79. Samsung's interactive video Follow Your Instinct
    • 80. DAVID LYNCH Interview Project
    • 81. SETTING • SETTING - contemporary focus on ‘story world’ (Tali Krakowsky, Alex McDowell) • Henry Jenkins - Game design as narrative architecture • spatial narratives are exploratory by nature • setting can mirror, contrast, foreshadow actions & themes
    • 82. Architecture = Narrative • spatial/architectural design creates and defines opportunities for narrative direction. • i.e. what is available in the space, the specifics of place already encode expectations as to the types of action we will encounter • strip club vs. Court of King Arthur • hospital vs. Star Trek but...Battlestar Gallactica?
    • 83. TINMAN (verizon)
    • 84. SPATIAL NARRATIVES
    • 85. SPATIAL NARRATIVES • RELY ON: • ASSOCIATIONS • PATTERNS • MIRRORING & INVERSIONS
    • 86. Errol Morris Standard Operating Procedure
    • 87. SPATIAL ORGANIZATION
    • 88. SPATIAL ORGANIZATION • PHYSICAL STRUCTURES • WORLD CREATION • TIME LINE • MAPS • CHARACTER LISTS
    • 89. OAKLAND CRIMESPOTTING INTERACTIVE CRIME MAP
    • 90. WHALE HUNT Jonathan Harris
    • 91. • there is sooo much more....explore... • Part 2, 3, 4.... coming • Siobhan O’Flynn • links archive at: www.narrativenow.blogspot.com

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