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Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
Transmedia Storytelling
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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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