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Storytelling Across Multiple Platforms
- 1. Storytelling Across Multiple Platforms Al McEwen Director of Digital WBMC al@wbmc.tv
- 2. All the world’s a stage, And all the men and women merely players ~ The Bard, As You Like It
- 3. Using various media to express and expand story worlds isn’t new. We’ve been telling stories across multiple platforms for centuries.
- 5. Literature Events Movies Merchandise Music Art Architecture Monuments Web/GamesTV Stories are told across many different media.
- 6. All stories are connected by their underlying ethos.
- 7. Messages are broken into discrete pieces that are easy to communicate.
- 8. Unique features of each media make messages more accessible.
- 9. Many works have been created by groups of devoted followers. Producer Consumer Prosumer
- 10. In a way this follows the contemporary understanding of transmedia storytelling. A transmedia story unfolds across multiple media platforms with each new text making a distinctive and valuable contribution to the whole. In the ideal form of transmedia storytelling, each medium does what it does best—so that a story might be introduced in a film, expanded through television, novels, and comics; its world might be explored through game play or experienced as an amusement park attraction. ~ H. Jenkins, Convergence Culture: Where Old and New Media Collide, 2006
- 11. Some Terminology
- 12. [Narratives] have been constructed to achieve unity. While postmodern narratives open out into fragments and bricolage in content, plot and style, distributed narratives take this further, opening up the formal and physical aspects ofthe work and spreading themselves across time, space and the network. ~ J.Walker, Distributed Narrative: Telling Strories Across Networks, 2004 Distributed Narrative
- 13. Integrating multiple texts to create a narrative so large that it cannot be contained within a single medium. ~ H. Jenkins, Convergence Culture: Where Old and New Media Collide, 2006 Transmedia Storytelling
- 14. A Pervasive Game is a game that has one or more salient features that expand the contractual magic circle of play socially, spatially or temporally. ~ M. Montola, Exploring the edge of the Magic Circle: Defining Pervasive Games, circa 2009 Pervasive Games
- 15. Environments are the spaces in which creative works are experienced... Every distinct media has an environment, but for some creative works the environment is not incidental but constructed to be a part of the meaning-making process. ~ C. Dena, Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments, 2009 Environments
- 16. A Transmedia Narrative project or franchise must consist of three (or more) narrative story lines existing within the same fictional universe on any platform... Transmedia ~ APG Transmedia Guidelines, 2010
- 17. } { Games TV Feature Film Short Film Print Music Websites Social Live Performance Travelling Work Theme Park Stage Set Virtual Theatre Outside Inside Integrated Media Media Environments
- 18. Fran- chise • mulitple mono-medium projects examples - book, film, game, internet Project • Multiple media products make up one Transmedia project examples - Why So Serious (ARG for Dark Knight) 4 Approaches To Transmedia ~ Christy Dena, Pixel Lab , 2010 Concept (Native) • Designed to be transmedia from the concept stage Franchise • mulitple mono-medium projects examples - book, film, game, internet Transformation • Changing an ex- isting mono-media property into transmedia examples - The Fun Factory for Coke
- 19. How is this relevant to entertainment media?
- 21. Apples AKA The Past Appointment Viewing Subscription Ad Supported Broadcast Centric Marketing Budget Audience passive Oranges AKA The Present Video On Demand Free Content Brand Integrated Networks & Community Engagement Audience participation
- 22. Audience
- 23. Know your audience early in development and design around them. Some members will contribute whilst others will passively consume.
- 24. Consider each tier of your audience. Prosumers Base Users Active Users Will actively participate in the creation of auxiliary content and promote your project. Hardcore fans. Will promote your project but not be active in the creation of content. Will casually consume your project.
- 26. 1. Find the underlying message or ethos 2. Consider the environments in which people can engage with your message 3. Develop content specifically for appropriate media 4. Listen to the audience 5. Maintain a cohesive message across all platforms The List
- 27. You may have an idea but you need to boil it down to basics.
- 28. Try to: 1. Find your archetype 2. Write your OneLiner 3. Identify themes 4. Know your aspirational driver - Mastery, beauty, empowerment, belonging, spectacle Find the underlying message or ethos
- 29. Think of platforms and match them to the environments.
- 30. Consider Environments Ask: 1. Where do I listen to music or watch TV? 2. When do people need to be uplifted, nurtured or excited? 3. Is there a shared space in which people can engage? 4. Do I need to create a virtual or new space to get my message across? 5. Is my audience here?
- 31. You may have a platform in mind but take the time to think about what platforms best fit.
- 32. Develop Content Look for: 1. The media that best suits the space 2. The media that suits the user’s constraints (time and place) 3. Short form engagement 4. Longer form engagement 5. Ways to innovate by using emerging platforms 6. Ways the audience can participate
- 33. Your project is out there. Now you must evaluate, reward and adjust.
- 34. Listen to the Audience Listen to: 1. What your audience is saying about your story 2. How you can reward their input 3. Can you integrate their contributions into your project
- 35. As you use more platforms for your message and take on new content from communities, you MUST stay on message.
- 36. Maintain the Message Make sure: 1. You don’t fracture your narrative 2. Always repeat the previous steps when initiating new content 3. Use variations of your themes to retell the same message
- 37. Social Media isn’t a broadcast platform. Make sure you have conversations with your audience and reward people for participating.
- 38. Staying in Touch Social Platforms 1. Twitter 2. Facebook 3. Google+ 4. YouTube 5. Blog Comments 6. Newsletters 7. Email 8. SMS
- 40. 4 Key points to consider when developing Transmedia narrative - Vision - Collaboration - Engagement - Raw Guts ~ Suzanne Stefanac - Director, American Film Institute
- 41. Examples(to be discussed in the workshops)
- 42. Dark Knight ARG
- 43. AUTHENTIC in all Caps
- 45. Goa Hippy Tribe
- 47. Parkman Murder
- 48. Bear 71
- 50. Biophilia
- 51. Arcade Fire