Transmedia and Augmented Reality


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Presentation, to pervasive media group, that suggests ways one might approach using AR in a transmedia experience.

Transmedia and Augmented Reality

  1. 1. Presentation to <br />Ubiquitous Media Studio<br />Palo Alto, California<br />Robert Pratten<br />Founder,<br />13th October 2010<br />
  2. 2. About me<br />
  3. 3. …and in the recent past…<br />
  4. 4. Current project:<br />One story, three perspectives.<br />Told over three platforms: novella, web series, blog.<br />
  5. 5. This presentation<br />Intro to transmedia: basic concepts<br />what is transmedia storytelling? <br />types of transmedia storytelling<br />why is "transmedia“ so popular?<br />Design principals for transmedia experiences <br />deciding what your goals are<br />designing to achieve the goals<br />how might we employ AR in an transmedia experience?<br />
  6. 6. Part 1: Introduction to Transmedia<br />
  7. 7. Transmedia storytelling<br />…is telling a story across multiple media and, although it doesn’t always happen, with a degree of audience participation, interaction or collaboration…<br />...with each additional media heightening the audience’ understanding, enjoyment and affection for the story.<br />
  8. 8. Transmedia storytelling <br />
  9. 9. Story and storyworld<br />
  10. 10. Types of Transmedia<br />
  11. 11. Franchise transmediamultiple platforms create a collection of individual experiences<br />
  12. 12. Portmanteau transmediamultiple platforms contribute to a single experience<br />
  13. 13. Why Transmedia<br />Millennials/GenY expect it:<br />simultaneous multi-platform consumption of media<br />multiple media <br />More audience touchpoints to aid discovery in world exploding with content<br />Increased penetration of sales to existing audience<br />Consumers actively avoiding ads: therefore brands seeking truly engaging experiences<br />Exciting and fun: oceans of uncharted water to explore<br />
  14. 14. Part 2: Designing your Experience<br />
  15. 15. Anatomy of a transmedia project<br />The Story<br />genre, characters, location, time, plot etc.<br />The Experience <br />timing (commercial, context, practical)<br />platforms (media, technology, physical)<br />location (online, offline, geographical)<br />agency (interactive, affecting, collaborative)<br />
  16. 16. Transmedia projects<br />Story<br />Gaming<br />Participation<br />
  17. 17. Storytelling Cube (RaphKoster & Rich Vogel)<br />Control: How much freedom does the audience have to create their own experience and how much control will you have as the author?<br />Impact: What long-lasting impact will the audience have on the evolution of the experience?<br />Context: How much of the experience is based in a fictional world and how much exists in “real life”?<br />
  18. 18. Transmedia Radar Diagram <br />Story (strength, depth & authorial control) <br />Real-world (pervasive, built around fact)<br />Gaming (goals, puzzles, challenges, trophies)<br />Participation (contribute, change, co-create)<br />Story = importance of narrative, depth of world & degree of authorial control<br />Real-world = extent to which story-experience pervades real locations & times<br />Participation = ability of audience to change or contribute to the story-experience<br />Gaming = audience has goal, use of puzzles, game mechanics (trophies, levels, leader boards etc.)<br />
  19. 19. Transmedia Project Development<br />Story<br />Audience<br />Experience<br />Business<br />Model<br />Platforms<br />Execution<br />
  20. 20. Transmedia Project Development<br />Story<br />Audience<br />Experience<br />Business<br />Model<br />Platforms<br />Execution<br />AR fits here <br />
  21. 21. Part 3: Use of Augmented Reality<br />
  22. 22. Approaching Augmented Reality<br />How might the story be best served with this platform?<br />What experiences can I create?<br />What content can I deliver?<br />How does it fit within the storyworld?<br />What business model opportunities are there?<br />What audiences will be excluded/ included?<br />
  23. 23. Augmented reality – when, where, how?<br />Home<br />Home Away<br />Tablet<br />Tablet<br />Public screen?<br />
  24. 24. AR<br />Call-to-action<br />AR marker (offline to online)<br />Narrative (video, animation, audio)<br />Add interactivity to non-interactive media<br />Provide contextual story<br />Exploration<br />Provide contextual content<br />location-based content <br />Provide audience with tools<br />gaming<br />role-play<br />
  25. 25.<br /> is a book, video series and blog<br />Authorial control is the dominant feature<br />No game or puzzles even though there’s some mystery in the storytelling and a few content “clues”<br />Experience has strong link to San Francisco with exploratory content coming from real-world sources such as wikipedia, SF crime map etc.<br />There’s a forum to influence future stories and the development of the character but this experience is “on rails”<br />AR & mobile used to provide additional narrative content (sub-plot in video, audio, images) that enriches ownership of paid content (book & ebook) and exploratory content (wikipedia, coalition on homelessness in SF)<br />Story<br />Real-world<br />Participation<br />Gaming<br />
  26. 26. Infection: AR mobile game<br />Location-based mobile game in which AR is used to identify infected areas of a small neighborhood. Teams complete to “clean-up the ‘hood” or “infect the ‘hood“within a 60 min time window: point mobile camera, see infection, zap infection, get points or see no infection, create infection, get points.<br />Story is used to establish the premise for the game but from then on players make their own entertainment choosing how to progress through the streets and extent of role-play<br />Players have no ability to change the rules of the game or contribute content<br />Story<br />Real-world<br />Gaming<br />Participation<br />
  27. 27. CyberKiller<br />Comic book series and feature film provides strong narrative thread that ties together all aspects of content.<br />Game mechanics used to encourage collection of content and to establish “super fan” bragging rights plus puzzles and PvP used to test knowledge of storyworld to win prizes <br />Some participation in the storyworld in that fans allowed to submit fan fiction and upload artwork but is mostly outside canon<br />Opportunity for real-world LARP at meet-ups which again feeds into game<br />AR used to provide community with fun and role-play tools - facial-recognition overlays cybernetic endoskeleton on real faces <br />Story<br />Real-world<br />Participation<br />Gaming<br />
  28. 28. - AR marker at end of chapter reveals clue that creates suspense<br />
  29. 29.<br /><br />
  30. 30. Transmedia Storyteller<br />Robert Pratten<br /><br /><br />