Australasian Drama Studies Association (ADSA) conference presentation 2013. Staging changes multi-media translations-from play to itunes store in ten easy stages…..”

1. Staging Changes: Multi-media translations: adaptation
practices across genres, media and forms
Or “From Play to itunes store in ten easy stages…..”
The Dr Egg Adventures transmedia storyworld
The Dr Egg Digital Project:
Dr Catherine Fargher
catherine.fargher@mq.edu.au
www.dreggdigital.com www.dreggadventures.com

2. Theatre: Dr Egg and the Man with No Ear:
Puppetry, animation and live performance
Images: Redmoon Theatre Chicago, Jessica Wilson Productions

3. Dr Egg's Magical Laboratory

4. In the beginning was the
story...
Our appetite for story is a reflection
of a profound human need to grasp
the patterns of living...within a very
personal emotional experience.
Robert McKee, 'The Story Problem' p 12.

5. Brad Pitt + wine glass = DNA
+ =

6. Witch + stolen hair = power
(fables = the first science Vico. 1725.)
+

7. Historically, fables have explored the place
of humans and animals in nature, and how
life’s difficulties may be met with cunning,
ingenuity, invention, transformation, mutation
and sometimes magic or luck. Scientific
corporations are making promises for
remarkable futures and present day miracles
using these same means to meet life’s
difficulties.
Fables and Scientific
Geno-hype

8. Referencing real science as a basis for story: Brad
Pitt's DNA and the 3D printed ear
Dr Larry Bonassar, Cornell
University Bio-engineering
researcher, Sydney Morning
Herald Feb 27, 2013

9. Theatre: Dr Egg and the Man with No Ear

10. Features
· An exciting interactive storyworld: The Dr Egg Adventures series of
fantastical scientific adventure stories forms the basis of a range of innovative
trans-media products.
· A distinctive aesthetic style: Integrating a highly distinctive aesthetic
style, the interactive storyworld uses illustration, animation, puppetry, video and
a rich soundscape to immerse the audience, entice the imagination and
encourage participation.
· Trans-media potential: As children and users seek to take their
experiences off-line, this storyworld has the potential to be incorporated into an
animated TV series with Augmented Reality (AR) tags, stand alone games,
mobile cross-platform Apps, published books and graphic novels, as well as a
range of toys and models.
· Educational potential: The Dr Egg Adventures features genetic science
themes and introduces ethical decision-making, creating a strong educational
focus aligning with the Science, Maths, History, and English curriculum Years 3
to 8.

11. EPOC (Electronic Proof of Concept) -
Interactivity Map
Design: D. Weissner (c) 2013

14. Dr Egg's Magical Laboratory

17. Fun stuff - Bio-goo and square tomatoes

18. The Dr Egg Adventures prototype
all ages testing day in the
Media Lab at Metro Screen 8/6/13

19. USER PROFILES AND SCENARIOS
Daniel is an eleven-year-old boy who is introduced to The Dr Egg Adventures title
through word of mouth from his friends. He likes Minecraft, Lego’s online
browsers and Cold Play. When he hears his friends discussing how they make their
mutant creations fight in the ‘Biohazard Battle Arena’, it captures his imagination.
Daniel is a non-sequential or visual-spatial thinker and is visually stimulated by the
product’s sensational aesthetics. As a result the longevity of product exists in the
‘Mutant Create’ game, as an outlet for Daniel’s own creativity – inventing strange
creations, each with elaborate stories of their own.
Indira is a twelve-year-old girl who likes the Hobbit, Taylor Swift and iPhone apps
like Geekbooth and Facemash. She hears about The Dr Egg Adventures title from
her science teacher at school. When she gets home, she uses the iPad she got for her
birthday to investigate. Indira is a sequential, systematic thinker who is very
technology-savvy. She enjoys the ‘Mutant Create’ game, especially the decision-
making process involved in determining which mutations are “safe” and which are
“mistakes”. She enjoys the engaging narrative and quirky characters, noticing
motifs, themes and ideas in the text that she did not previously.

20. Mika age 5 "I can't read, but I can listen"

21. 'This project has been assisted by the Australian
Government through the Australia Council for the Arts,
its arts funding and advisory body.'

22. Age, Gender and The perception of Audio
in the Learning Environment.
Market Test Response Summary