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Transmedia storytelling

How I Stopped Worrying and Learned to Love Transmedia...

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Transmedia storytelling

  1. 1. transmedia storytelling How I Stopped Worrying and Learned to Love the Transmedia... by Benjamin Hoguet @benhoguet
  2. 2. 1
  3. 3. the need to define transmedia is strong
  4. 4. A global definition by Henry Jenkins
  5. 5. A visual definition by Robert Pratten
  6. 6. an institutional definition needed for : ! • status recognition • grants allocation • lobbying efforts • «reassurance» ‘’ A Transmedia Narrative project or franchise must consist of three (or more) narrative storylines existing within the same fictional universe on any of the following platforms: Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, Special Venues, DVD/ Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, and other technologies that may or may not currently exist. These narrative extensions are NOT the same as repurposing material from one platform to be cut or repurposed to different platforms. ‘’
  7. 7. an institutional definition needed for : ! • status recognition • grants allocation • lobbying efforts • reassurance To be eligible to the CNC new media fund, a project must: ! • be an original concept with content (linear or interactive) specifically produced for new media ! • be destined to several media, including cinema and/or television and must offer specific narrative developments on each media ! •create a universe and include an interactive and/or participatory dimension ! • be conceived and written in French
  8. 8. but who really gives a f***?
  9. 9. focus on a good story... give it all the forms it needs and deserves... make it engaging and immersive... it’ll be good transmedia.
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  11. 11. a craft rooted in our cultural DNA
  12. 12. the non-interactive entertainment of the 20th century is the exception, not the norm
  13. 13. Before non-interactive forms of entertainment came along all entertainment was interactive: theatre, music, sport – the performers and audience were there together, and even a respectfully silent audience exerted a powerful shaping presence on the unfolding of whatever drama they were there for. ! We didn’t need a special word for interactivity in the same way that we don’t (yet) need a special word for people with only one head. - Douglas Adams in «How to Stop Worrying and Learn to Love the Internet» (1999)
  14. 14. new worlds to conquer digital or not...
  15. 15. new formats enriching and transcending traditional media (not replacing them)
  16. 16. new formats webdocumentaries recurring features: • multiple-choices interfaces • multimedia content • non-linear narrative structure main challenges: • going non-linear without sacrificing narration • keeping a balance between interactivity and author’s intention • making the interaction the story frequent mistakes: • encyclopedic documentary • narrative maze • non-contributing interactivity • ergonomical nightmare Hollow (Elaine McMillion) | Interactive documentary Gaza Sderot (ARTE) | Webdocumentary | Documentary
  17. 17. new formats serious games recurring features: • serious intentions combined with playful mechanisms • «classic gaming» features : levels, rules, rewards... main challenges: • not letting the information delivery ruin the gaming experience • not letting the gaming experience hinder the information delivery • being really fun and challenging to play frequent mistakes: • overly simplistic game design • confusion between gaming and gamification • forgetting to tell a story Type:RIder (ARTE) | Mobile & social game | Interactive installation SPENT | Serious game
  18. 18. new formats fictional universes recurring features: • TV or cinema-centered • long-lasting experiences • special content for hardcore fans • strong ties with marketing campaigns main challenges: • preserving some distinction between transmedia and marketing • spending more time for the 1% of hardcore fans than for the other 99% • keeping the whole experience coherent frequent mistakes: • lack of resources for developments other than the main medium • some parts of the experience don’t stand alone Defiance (SyFy) | TV Show | MMORPG The Spiral (ARTE) | TV Show | ARG
  19. 19. new formats alternate reality games recurring features: • thin line between reality and fiction • players embodying fictional characters, much as in role playing • results of the ARG shaping the unfolding of the transmedia experience main challenges: • dealing with the logistics • keeping the player’s community coherent and interactive • drawing links with the rest of the experience frequent mistakes: • lack of social features • forgetting rewards for a very demanding activity Alt-Minds (ARTE) | Mobile game | ARG | Webseries Why So Serious | ARG
  20. 20. new formats participative experiences recurring features: • offering users to co-create the project • content also available for non-contributors • UGC or contributions shaping the whole transmedia experience main challenges: • editorialization of contributions or UGC • incentives for participation • legal status of UGC content frequent mistakes: • lack of recognition or rewards for participants • unclear impact of participation on the project Une Contre-Histoire des Internets (ARTE) Life in a Day (National Geographic & YouTube) | Feature film
  21. 21. new formats digital publishing recurring features: • offering users to co-create the project • content available for non-participants • UGC or participation shaping the whole transmedia experience main challenges: • editorialization of participations or UGC • incentives for participation • legal status of UGC content frequent mistakes: • lack of recognition or rewards for participants • unclear impact of participation on the project MediaEntity | Comics | e-Book | ARG | Role playing | Webseries Cathy’s Book | Publishing | ARG
  22. 22. new formats and much much more... • gamedocs • mobile apps • e-publishing • social games • second screen apps • long-form articles • interactive webseries • role-playing on social networks • tweetterature • and whatever we’ll do with Google glasses... Fort McMoney (ARTE/ONF) | Gamedoc | Documentary Snow Fall (New York Times) | Long-form interactive article
  23. 23. never bend your story to fit a predetermined choice of media
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  25. 25. the (not so) new rules of storytelling
  26. 26. your transmedia experience should be: immersive interactive sharable coherent expandable
  27. 27. 4
  28. 28. why bother with transmedia?
  29. 29. obvious returns not so obvious ones... • you’ll learn (hopefully) to delegate and work collaboratively ! • you’ll learn new skills (design, coding, game design, storytelling softwares...) ! • if necessary, you’ll be able to make concessions on one medium to preserve creative freedom on another (OK, don’t hit me...) • you’ll reach multiple target audiences on their media of choice ! •you’ll build a stronger community around your project ! • you’ll create a narrative universe you can then expand ! • you’ll get new funding and grant opportunities ! • you’ll get an innovative edge and a pioneer status
  30. 30. obvious complications not so obvious ones... • you’ll have to deal with more complicated group dynamics ! • you’ll faced an unclear and unspecific set of laws and regulations ! • you’ll have to reconfigure your brain because transmedia storytelling will f*** up your creative process and patterns • you’ll most certainly have to coproduce some aspects of the experience ! • you’ll have to implement more sophisticated project management techniques ! • you’ll have to find new skills such as story architects, experience designers... ! • you’ll be part of an emerging and competitive market so demand might run low sometimes
  31. 31. to optimize returns and minimize complications: keep calm and collaborate • By co-producing and co-creating, you’ll build a growing ecosystem of gifted professionals • You’ll soon develop many new skills you never had the patience or time or resources to learn • But still, don’t go overboard and ask everyone you meet to join your project
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  33. 33. production and distribution, transmedia-style.
  34. 34. key players Broadcasters / Media ARTE (France) France Televisions (France) NFB / ONF (Canada) National Geographic (US) HBO (US) ... Producers Starlight Runner (US) Mirada Studios (US) MediaStorm (US) Upian (France) Lexis Numerique (France) Submarine (NL) ... New media funds & grants CNC (France) SCAM, SACD, SACEM (France) Regional funds (France) Lagardère Foundation (France) Europe Creative (EU) Doha Film Institute (Qatar) Tribeca New Media Fund (US) ...
  35. 35. «classic» funding «new» funding •Get some media involved •Apply for funding and grants •Find private funders (maybe) •Look for the widest distribution •Enter some festivals •Build a community •Get involved with your audience •Launch a crowdfunding campaign or pre-sales •Be grateful and send some rewards both are not mutually exclusive!
  36. 36. DIY distribution What for ? •Take full creative control •Stay independent •Generate (possibly) more revenue How? •Use existing distribution solutions (iTunes, Vodeo, Vimeo, Kindle Direct Publishing...) •Create your own (VHX, custom code) Careful... •Build an audience first •Consider the higher risk/reward ratio •Run your numbers •Get a plan B
  37. 37. Festivals & events Elsewhere: SXSW (Austin, US) Power to Pixel (London, UK) Sheffield DocFest (UK) IDFA DocLab (Amsterdam, NL) Tribeca Storyscapes (NYC, US) Sundance New Frontier (Utah, US) ... In France: Sunny Side of the Doc (La Rochelle) Cross Video Days (Paris) Web Program Festival (La Rochelle) FIGRA (Le Touquet) Visa pour l’Image (Perpignan) FIPA (Biarritz) ...
  38. 38. 6
  39. 39. your very own transmedia toolbox!
  40. 40. Non-linear writing tools Twine Open-source Non-linear storytelling Interactive scenario Instant publishing And also: Scrivener Celtx Scapple...
  41. 41. Interactive storytelling tools Djehouti To create without code any kind of interactive experiences (webdoc, interactive videos, mobile apps, websites...) To create storyworlds with complex social and mobile interactions To create geolocated interactive experiences And also: Klynt, Zeega... (interactive experiences) Shorthand... (long-form articles) ThingLink, Stipple... (interactive photos) Popcorn, Korsakow... (interactive videos) Timeline JS, TikiToki... (timelines), Piktochart... (infographics)
  42. 42. News sources & influencers In France: The Rabbit Hole (transmedia) (webdoc) Le Blog Documentaire (doc & webdoc) The Pixel Hunt (serious game) Transmedia Lab (transmedia) Bigger Than Fiction (transmedia) UK/US: (transmedia) Transmedia SF (transmedia) tStoryteller (storytelling) Starlight Runner (transmedia) Andrea Philips (transmedia) Digital Rocking Chair (curated) Pervasive Entertainement (curated) and many more I forget...
  43. 43. Transmedia communities Storycode Recurring events and workshops dedicated to the future of storytelling in NYC, Paris, Boston, Washington, SF... And also: Regional communities (Transmedia SF, LA...) Transmedia Coalition Transmedia Meetups Workshops and hackathon (Tribeca Hacks, PBS POV Hackathon...)
  44. 44. thank you! more on @benhoguet and