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Transforming stories into transmedia experiences 10.17


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Transforming stories into transmedia experiences 10.17

  1. 1. Cinekids  Professional  2011   Transforming  Stories   Into  Transmedia   Experiences  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  2. 2. Esther  Lim   •  ExecuBve  Director,  Digital   Experiences  for  George  P.   Johnson   •  Founder  and  Chief  Experience   Architect  for  The  Estuary,  LLC   •  Architect  of  immersive  digital   experiences  using  storytelling,   game  play  and  social/ community  strategies  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  3. 3. Focus:  ArchitecBng  Transmedia  Experiences   •  Transmedia  Overview   •  Framing  the  Transmedia   experience   •  Improving  Transmedia   experiences  with  social  analyBcs   •  Growing  the  Storyworld  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  4. 4. Transmedia  Overview  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  5. 5. What is Transmedia? Graphic Credit: Unknown Source ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  6. 6. A good working definition…for now… “A  transmedia  story  unfolds  across  mulBple  media   plaOorms,  with  each  new  element  making  a  disBncBve     and  valuable  contribuBon  to  the  whole.  Ideally,  each   medium  makes  it  own  unique  contribuBon  to  the  unfolding   of  the  story.”    ~  Henry  Jenkins  in  “Convergence   Culture”  (2006  )   Reference:  hYp://  defining_transmedia_further_re.html  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  7. 7. What  makes  them  different  from  MulBmedia  campaigns?   Transmedia   Spectator   ParBcipant   A  message   A  story   Fixed  content   Evolving  story   RepeaBng  content  across  media   LiYle  repeBBon  between  media   Limited  depth  of  content   Deep  content   Pre-­‐planned   Real-­‐Bme  &  responsive   Uses  channels  as  a  delivery  plaOorm   Uses  channels  as  a  narraBve  plaOorm   ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  8. 8. A visual depiction of a transmedia experience…yet this is only the tip of the iceberg ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  Graphic Credit: Unknown Source
  9. 9. There are many more layers of consideration forconstructing a solid, friendly transmedia experience PlaOorm   Content   Engagement   OpBmizaBon   Community   Roll  Out  Plan   Strategy   Strategy   Strategy   Plan   Development  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  10. 10. Success Success What people think What it really looks it looks like like ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  11. 11. Without a coordinated transmedia effort, you get chaos and frustrated audiences ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  12. 12. Framing  the  Transmedia  Strategy  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  13. 13. An  audience-­‐centric  approach  and  process   Define  the  story     Define  audience   Define  the  objecBves  and  audience   experience   Map  your  story  to  the  selected   plaOorms   Execute,  monitor  and  adapt  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  14. 14. Audience  DefiniBon  begins  with  Persona  Development   Personas  guide  decisions  on  story  development,  story   world  experiences  and  community  strategy:   •  Organic  story  plaOorm  selecBon   •  Character  development/interacBons   •  Audience  parBcipaBon   •  Story  extensions  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  15. 15. ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  16. 16. iGenera.on  Persona  “  Take  me  to  the  place  I  want  to  be  like  I’m  really  there”   Demographics   Psychographics   Quotes:   Name:  Maria   Personality:  Curious,  adventurous,  creaBve   “Typically  something  the  kid  says   Age:  7   Family  Life:  Happy:  mom  and  dad  work  have   during  an  interview  that  reflects  who   Gender:    Female   family  nights  on  the  week-­‐ends   they  are  or  what  they  want”   Ethnicity:    Hispanic   RelaBonship  with  Friends:    socially  acBve,   EducaBon:  Elementary   texBng,  gaming   Social  class:  Middle  Class   Siblings:  2  younger  sisters,  5  and  3   LocaBon:  US   Likes:  CreaBng  videos,  content  to  share  with   friends,  tools  and  experiences  that  can  be   customized.  During  TV  Bme,  Maria  is  olen   co-­‐watching  the  same  shows  with  her  friends   and  texBng  running  commentary   Dislikes:   Amtude:  Anything  is  possible.  If  I  can  think  of   it,  it  can  be  made.  Parent  Psychographics:  Parents  are  educated  with  college  degrees  and   Internet  Use:  entrepreneurs.  Mom  runs  a  day  care  to  have  flexibility  to  be  home  for  the  kids,  and   Experience:  dad  is  self-­‐employed  CPA  working  from  the  home  office.  Mom  and  dad  use   Access:  technology  for  their  work  but  limited  to  the  scope  of  their  work.     Supervised  or  unsupervised?:   What  do  they  do  online?  Parent  Technographics:  While  Maria’s  parents  are  tech  savvy  owning  smart  phones,   What  are  their  favorite  sites?  laptops  and  portable  devices  such  as  iPad,  they  are  less  aware  of  the  capabiliBes  of   How  frequently  on  they  on  line  each  week?  their  devices  than  their  kids.  Tends  to  play  online  games  with  their  kids  as  a  way  to  connect.  Adopted  more  texBng  behaviors  to  keep  in  beYer  communicaBon  with   Project/Story  Objec.ves  Maria.  Both  parents  are    on  Facebook  primarily  to  keep  in  touch  with  friends  and   What  do  you  want  users  to  feel,  take-­‐away  from  the  story/experience  family  Technographics:   Use  Cases:  What  kind  of  technology  do  they  use?   What  are  some  of  the  things  you  want  users  to  do?  What  do  they  do  with  the  devices?  How  did  they  learn  to  use  it?  How  olen  do  they  use  it?  For  how  long?  What  is  their  favorite  app?  game?  program?  
  17. 17. Mapping the desired experiences to the platforms Audience     Audience   Plot  Desired   Content   Personas   ✔ PlaHorms   ✔ Interac.on   ✔ Components   ✔ Social  Networks   Connect:  Build   Primary  Character  profiles/ relaBonships  with   dialog   characters   TwiYer   Act:  Get  alerts,  calls  to   Character  back  channels   acBon  and/or  organize   Blogs   Discover:  uncover  and   Stream  of  consciousness/ share  new  content   Introduce  new  characters   Micro  sites   Surprise,  Explore,  Share:   Introduce  new  locaBons,   Reveal  new  places  within   characters,  scenes     the  storyworld   Primary  Story  PlaOorm   Recruit,  Introduce,   All,  acts  as  archive  to  ramp  up   Indoctrinate  new   new  audiences   members  to  the   experience  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011   18  
  18. 18. Transmedia planning (online)IMAGE FICTIONAL WEBSITES VIDEO SHARING SITES GAMING VIRTUAL WORLDS Back story fictional Episodic character Story played- Role playing the LIVE STREAMING websites back story out in games story in real timeMedia format PHOTO SHARING SITES Live event streaming / character interaction Photos linked Your to the story Story Story delivered in real time through character LIFESTREAMS interaction Collaborative Characters made Groups around Threaded discussion story editing real on social stories networks SOCIAL NETWORK SOCIAL WIKIS FORUMS LIVE CHAT PROFILE NETWORKWORD GROUPS ANYTIME ©  2011,  The  Estuary,  LLC   Time format Cinekids  Professional  2011   REALTIME Graphic Credit: Leo Rayman, DDB
  19. 19. Diagram Credit: Joanna Peña-Bickley ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  20. 20. Improving  Transmedia   Experiences  with  Social   AnalyBcs  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  21. 21. Social  analyBcs  should  be  a  key  tool  in  your  transmedia   development  tool  kit  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  22. 22. Social  metrics  provides  direcBon  for  adjusBng   engagement  and  story  delivery  strategies  real  Bme   Sample  Insights  Ac.ons   Benefit  of  Ac.ons   Audience  feedback,   Revision  or  inclusion  of  new   Sense  of  ownership  of   senBment  about  story   material  to  next  content   the  storyworld  IP   elements   release   Trending  topics  within  the   Adjust  content,  experience   Happier  fans  that  get   storyworld   and/or  engagement  to   more  of  what  they’re   connect  more  deeply  with  fans   asking  for   ParBcipaBon  volume   BeYer  team,  resource  and   Ensures  posiBve  and   content  development   consistent  storyworld   management   experience   Total  Benefit:   Loyalty  and  evangelism  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  23. 23. When  monitored  weekly,  creators  can  act  proacBvely   instead  of  reacBvely  around  acBviBes  like:   •  ReputaBon  management   •  Community   acknowledgements   •  New  audience  acquisiBon   •  Fostering  advocacy   •  Fan  co-­‐creaBon   •  New  device  adopBon/usage  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  24. 24. Suggested  List  of  Social  Media  Monitoring  Partners:   Paid Aggregators: More robust offerings, better reporting and more flexibility to view data in different form factors •  Radian6 •  Sprinklr •  Sprout •  Visible Technologies Free tools: Available via search on Google however my favorite lists seem to come from ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  25. 25. Growing  the  Storyworld  with   Community  Development    ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  26. 26. Transmedia  has  the  potenBal  to  build  evergreen   communiBes  that  enable  storyworlds  to  moneBze  the   experience  and  become  commercially  viable  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  27. 27. Community  collaboraBon  is  paving  the  way  for  transmedia  storytelling  to  achieve  commercial  viability  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  28. 28. Commercial  viability  requires  three  key  elements:  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  29. 29. Community  collaboraBon   provides  cost-­‐effecBve   soluBons  for  resources  and   content  generaBon  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  30. 30. Community  Collaborators  are  a  distributed  network   of  content  creators  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  31. 31. Community collaborators are investors in the story world community ! #$$%()*+,,-./0 ! 4$5,00,3#/0* ! 67,-.80(0 ! 1(#/)*1(.2,/30 ! #$$%()* +#3./,(#/0©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  32. 32. CollaboraBve  CommuniBes  creates  revenue   opportuniBes  through:   •  Story  merchandise   •  Virtual  currencies   •  Virtual  goods   •  Premium  content   •  Brand  sponsorship   •  AdverBsing  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  33. 33. Preparing  for  Community   CollaboraBon:     Start  with  the  Basics  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  34. 34. Establish  a  community  influencer/advocacy  program  based  on  simple  game  mechanics  designed  reward  movement  through  the  community  ranks   •  Storyworld Contributor unlock•  Use Points (Social, play) for P2P through positive feedback mechanisms recognition and engagement rewards - from community and content creator(s), redeemable for community goods completion of escalating content creation tasks •  Levels unlock community and/or potentially editorial involvement •  Advocate Role unlock through privileges. Unlocked only through a progression through a series of levels combination of earned and social with positive feedback from community points. peers ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011  
  35. 35. Esther  Lim   Sites:   TwiPer:  @geekgrl   @theestuarysf   Slides  Available  Post  Conference  :     hYp://  ©  2011,  The  Estuary,  LLC   Cinekids  Professional  2011