4. Original definition of Transmedia Transmedia stories are those which ‘unfold across multiple media platforms with each new element making a distinctive and valuable contribution to the whole.” 2003
5. The seal of approval That role was formally recognized by the Producer’s Guild of America (PGA) last April following the formation of the Transmedia Artists Guild (a non-profit organization in the development aiming to provide a network and base for transmedia artists). This historic decision for the PGA, marks the first time the guild has voted to add a new credit.
6. Two paths… ARGs for Marketing Communications Storyworlds for Entertainment Franchises
7. Storyworlds for Entertainment Franchises The principle is fairly simple, the whole should be greater than the sum of its parts. Zen Films: http://bit.ly/YDsSv
8. Storyworlds for Entertainment Franchises Multiple story arcs within a single storyworld. Regardless of the format (book, game, film, toy etc.) the story arcs overlap each other. These overlaps can be character, location or time based. Steve Sponder: twitter @stevesponder Lawton Communications Group - Version 2.1 - 10/06/11 Creative Commons: Attribution-Non-commercial-No Derivative Works 2.0 UK: England & Wales License
9. Storyworlds for Entertainment Franchises Starlight Runner Entertainment are one of the leading companies in this space. They have created storyworlds for some of the worlds largest entertainment IPs. Starlight Runner creates and expands fictional universes in the form of elaborate intellectual property bibles and story & style guides. Guides cover all major characters, story arcs, world details, weapons, vehicles, creatures, technology, magic and insignia. This allows for multiple franchise extensions into traditional, interactive and advanced media.
15. ARGs for marketing communications Film and game launches get the transmedia ARG treatment
16. ARGs for marketing communications TV programmes get the transmedia ARG treatment
17. ARGs for marketing communications “The Art of the Heist” embraced the target audience’s need of control over their environment and invited them into an immersive 24-hour-a-day alternate reality. This story blurred fact and fiction by concocting a mysterious storyline that involved consumers in the recovery of an A3 stolen from Audis Park Avenue headquarters in New York City. At the heart of the narrative were six new A3s containing coded plans for the largest art heist in history; however, one car contained the key to decrypting the information hidden in all the others, and the mystery surrounding the “heist” unfolded in real time over three months across the country. The Heists final chapter was played out in front of a live audience at the Viceroy Hotel in Los Angeles, where we finally discovered who the real villain was. Brands get the transmedia ARG treatment
19. Transmedia Mutants Barbie and Oasis - Brands get the transmedia treatment, but not the ARG variety. This activity is a storytelling-based campaign. Coke - Brands get the transmedia storyworld treatment. This activity is storytelling-based brand planning.
20. Transmedia Mutants Head Trauma - Franchises get the transmedia ARG treatment. The Million Pound Drop – TV Programmes get the transmedia treatment, but not the ARG format. Sometimes referred to as two-screen entertainment, this activity could also be called ‘Live Transmedia’. This is related to Social TV, see http://bit.ly/m11xTl
21. Transmedia Lens Framework Having meaningful discussions about transmedia opportunities is becoming increasingly difficult with so many variants. This is exacerbated when talking about the marketing of entertainment properties. We need a simple way of identifying different types of transmedia. So to this end I have created the Transmedia Lens Framework.
22. Transmedia Lens Framework Steve Sponder: twitter @stevesponder - Lawton Communications Group - Version 3.0 - 10/06/11 Creative Commons: Attribution-Non-commercial-No Derivative Works 2.0 UK: England & Wales License
