The document discusses the evolution of storytelling from individual bards telling stories to crowds, to theater allowing parallel storytelling to larger audiences, to books enabling scalable and widespread distribution of stories. It then discusses how movies brought parallel and scalable storytelling to huge audiences. Modern storytelling has become crowd-sourced, with audiences increasingly controlling narratives through voting, branching storylines, and interactive experiences. The audience has become a more active participant and even character within stories.
USER CENTERED DESIGN: AN APPROACH FOR DESIGNING FOR ENGAGEMENT by Paul Tylerpower to the pixel
USER CENTERED DESIGN: AN APPROACH FOR DESIGNING FOR ENGAGEMENT
Paul Tyler – KEA, Copenhagen School of Design & Technology
What happens when you step back from the development process to see what it is you’re designing?
Where does audience insight come from and how do we use it? When designing for engagement we
must understand what motivates children and use it to guide the design process.
USER CENTERED DESIGN: AN APPROACH FOR DESIGNING FOR ENGAGEMENT by Paul Tylerpower to the pixel
USER CENTERED DESIGN: AN APPROACH FOR DESIGNING FOR ENGAGEMENT
Paul Tyler – KEA, Copenhagen School of Design & Technology
What happens when you step back from the development process to see what it is you’re designing?
Where does audience insight come from and how do we use it? When designing for engagement we
must understand what motivates children and use it to guide the design process.
Of course it’s exciting when people offer you money to make your project, but in this fragmented world of cross-platform production, more often than not, you will be working with several funders, in different territories, for a variety of audiences, on many platforms, over extended periods of time. This cautionary tale uses case studies and personal experience to highlight the potential pitfalls of working on a large-scale cross-platform production and aims to provide strategies for creating a story-world that covers all the bases whilst keeping true to the heart of the project.
The Pixel Lab 2015 | Designing the new narratives - Adam Sigel power to the pixel
In the rapidly changing landscape between technology, art and entertainment, storytellers must begin to apply new strategies to integrate their narratives across an increasingly complex system. This lecture will better define key areas in narrative design such as story engine, user engagement, socialisation and immersion. It will lay out basic principles and challenges in creating these new narrative experiences.
The Pixel Lab 2015 | It's all about the money - Nuno Bernardo power to the pixel
Well, not really. But if you want to be truly independent in your art and craft, you need to establish a business model that works for you and your company. Even in a world where audiences spend more time online than watching TV, financing digital and cross-media content is still a challenge.
The entertainment industry is still organised in a silo structure and new, experimental and creative projects struggle to get the necessary funding. To succeed producing cross-media you need to understand the limitations and the opportunities available, from searching for available funding at the right places, to combining traditional and new sources of financing and working with brands and advertisers, without ever forgetting the potential international market. In the last decade, Nuno Bernardo was able to finance and produce iconic cross-media projects, from Sofia’s Diary to Beat Girl, that got awards and recognition but also generated the important revenues.
The Pixel Lab 2015 | Commissioning Innovation - Voyelle Acker power to the pixel
As audience behaviour transforms, who is investing in new ways for film and media organisations to adapt to stay relevant? This session gives a unique opportunity to hear from commissioners who are leading the way in backing new types of entertainment products, audience engagement tools and cross-media projects.
The Pixel Lab 2015 | How does understanding more about my audience affect pro...power to the pixel
There’s so much a producer can do these days: create, finance, promote and distribute content across multiple platforms, media and channels. No longer do you have to rely on someone else’s ‘shop window’ to get your content seen. But in doing so we have to take responsibility for finding, connecting and activating audiences. Understanding context is key. It helps make content more engaging and relevant; it helps you weave your output into the lives of your users. However, it’s easy to paint a rosy picture of their attitude towards our offerings and the quality of the experience we provide. Mapping user journeys is a great way of realising the potential of your output reaching its intended audience. But how do we map the journey without turning it into a fairy tale?
The Pixel Lab 2015 | Extending story through play - Nick Fortugnopower to the pixel
Nick Fortugno looks at the way in which games and gameplay can be used to extend, monetise, and even incubate brands and stories. By looking at successful examples of transmedia that incorporate play into their storyworlds, Nick discusses how games create aesthetics and how that practice
can be applied to larger brand strategies. From there, the talk explores how gameplay can fit into a larger transmedial strategy in a number of rules, from expanding the story’s access to new audiences to serving as an experimental platform for brand-new story properties.
The Pixel Lab 2015 | 'I Need a Dollar' - Where's your ROI? - Jennifer Wilson power to the pixel
We spend our time in digital, but the reality is that we’re all still struggling to make a living out of it. Where does the money come from, how is this structured, who can you talk to and what do you need to know? This session will take apart a successful commercial digital project (Sherlock: The Network) and look at where the money came from. We’ll then look at all
the other funding options, from advertising to sponsorship to merchandise to subscriptions to affiliate revenue to app sales. We’ll look at the differences for factual versus fiction; games versus experiences; mobile versus web. Along the way we’ll touch on YOUR project and look to see what models might work for your cross-platform concepts.
The Pixel Lab 2015 | Innovation in Book Publishing - Eric Huang power to the pixel
The publishing industry is going through massive disruption. The Big Six have become the Big Five – and Nielsen data shows that the global book market is decreasing year-on-year despite the tremendous growth of e-books.
But it’s not all gloom and doom! There are success stories. Children’s publishing is exploding. And pockets of innovation, both in traditional publishing houses as well as in start-ups that are less a year old, are redefining what it means to be a book publisher. Format is no longer as important as story, and many publishers are actively looking to commission stories
that span media platforms. Publishing professional Eric Huang leads us through a recent history of the industry to uncover the innovations springing up around the world. What sort of stories is the modern publisher looking for? What is the best way to approach them?
The Pixel Lab 2015 | Dealing with Disputes: Who has the power - and when does...power to the pixel
You may have a good idea. You may even know how to make your voice
heard in this crowded digital marketplace. But do you know how to protect yourself along the way, from scratch to screen and beyond?
The Pixel Lab 2015 | Loc Dao's Lessons Learned in Interactive Documentary power to the pixel
The NFB's Head of Digital Content shares lessons learned around story and form from award-winning, groundbreaking interactive projects Seven Digital Deadly Sins, Circa 1948, The Last Hunt, Bear 71 and Welcome to Pinepoint.
Design and technology meets story and documentary.
Of course it’s exciting when people offer you money to make your project, but in this fragmented world of cross-platform production, more often than not, you will be working with several funders, in different territories, for a variety of audiences, on many platforms, over extended periods of time. This cautionary tale uses case studies and personal experience to highlight the potential pitfalls of working on a large-scale cross-platform production and aims to provide strategies for creating a story-world that covers all the bases whilst keeping true to the heart of the project.
The Pixel Lab 2015 | Designing the new narratives - Adam Sigel power to the pixel
In the rapidly changing landscape between technology, art and entertainment, storytellers must begin to apply new strategies to integrate their narratives across an increasingly complex system. This lecture will better define key areas in narrative design such as story engine, user engagement, socialisation and immersion. It will lay out basic principles and challenges in creating these new narrative experiences.
The Pixel Lab 2015 | It's all about the money - Nuno Bernardo power to the pixel
Well, not really. But if you want to be truly independent in your art and craft, you need to establish a business model that works for you and your company. Even in a world where audiences spend more time online than watching TV, financing digital and cross-media content is still a challenge.
The entertainment industry is still organised in a silo structure and new, experimental and creative projects struggle to get the necessary funding. To succeed producing cross-media you need to understand the limitations and the opportunities available, from searching for available funding at the right places, to combining traditional and new sources of financing and working with brands and advertisers, without ever forgetting the potential international market. In the last decade, Nuno Bernardo was able to finance and produce iconic cross-media projects, from Sofia’s Diary to Beat Girl, that got awards and recognition but also generated the important revenues.
The Pixel Lab 2015 | Commissioning Innovation - Voyelle Acker power to the pixel
As audience behaviour transforms, who is investing in new ways for film and media organisations to adapt to stay relevant? This session gives a unique opportunity to hear from commissioners who are leading the way in backing new types of entertainment products, audience engagement tools and cross-media projects.
The Pixel Lab 2015 | How does understanding more about my audience affect pro...power to the pixel
There’s so much a producer can do these days: create, finance, promote and distribute content across multiple platforms, media and channels. No longer do you have to rely on someone else’s ‘shop window’ to get your content seen. But in doing so we have to take responsibility for finding, connecting and activating audiences. Understanding context is key. It helps make content more engaging and relevant; it helps you weave your output into the lives of your users. However, it’s easy to paint a rosy picture of their attitude towards our offerings and the quality of the experience we provide. Mapping user journeys is a great way of realising the potential of your output reaching its intended audience. But how do we map the journey without turning it into a fairy tale?
The Pixel Lab 2015 | Extending story through play - Nick Fortugnopower to the pixel
Nick Fortugno looks at the way in which games and gameplay can be used to extend, monetise, and even incubate brands and stories. By looking at successful examples of transmedia that incorporate play into their storyworlds, Nick discusses how games create aesthetics and how that practice
can be applied to larger brand strategies. From there, the talk explores how gameplay can fit into a larger transmedial strategy in a number of rules, from expanding the story’s access to new audiences to serving as an experimental platform for brand-new story properties.
The Pixel Lab 2015 | 'I Need a Dollar' - Where's your ROI? - Jennifer Wilson power to the pixel
We spend our time in digital, but the reality is that we’re all still struggling to make a living out of it. Where does the money come from, how is this structured, who can you talk to and what do you need to know? This session will take apart a successful commercial digital project (Sherlock: The Network) and look at where the money came from. We’ll then look at all
the other funding options, from advertising to sponsorship to merchandise to subscriptions to affiliate revenue to app sales. We’ll look at the differences for factual versus fiction; games versus experiences; mobile versus web. Along the way we’ll touch on YOUR project and look to see what models might work for your cross-platform concepts.
The Pixel Lab 2015 | Innovation in Book Publishing - Eric Huang power to the pixel
The publishing industry is going through massive disruption. The Big Six have become the Big Five – and Nielsen data shows that the global book market is decreasing year-on-year despite the tremendous growth of e-books.
But it’s not all gloom and doom! There are success stories. Children’s publishing is exploding. And pockets of innovation, both in traditional publishing houses as well as in start-ups that are less a year old, are redefining what it means to be a book publisher. Format is no longer as important as story, and many publishers are actively looking to commission stories
that span media platforms. Publishing professional Eric Huang leads us through a recent history of the industry to uncover the innovations springing up around the world. What sort of stories is the modern publisher looking for? What is the best way to approach them?
The Pixel Lab 2015 | Dealing with Disputes: Who has the power - and when does...power to the pixel
You may have a good idea. You may even know how to make your voice
heard in this crowded digital marketplace. But do you know how to protect yourself along the way, from scratch to screen and beyond?
The Pixel Lab 2015 | Loc Dao's Lessons Learned in Interactive Documentary power to the pixel
The NFB's Head of Digital Content shares lessons learned around story and form from award-winning, groundbreaking interactive projects Seven Digital Deadly Sins, Circa 1948, The Last Hunt, Bear 71 and Welcome to Pinepoint.
Design and technology meets story and documentary.
26. BARBARIANS AT THE GATE
Harry Potter 613,707
Phantom of the Opera 10,455
Bible 3,359
Pride & Prejudice 2,174
The Odyssey 188
Book of Mormon 3
Editor's Notes
Why not use those channels to tell your story, instead of just letting them distract from your story?
These devices WANT to deliver content (any way you can lie is a way to tell stories)But they also WANT to give the user agency
Video games are all agency all the time. But of course, they have to deal with some fundamental issuesBarrier to entry – game controllersSupremacy of the game play loop – just as fiction skips the dull parts of life, games have to prioritize fun game mechanics over, say, emotional states.Fail state – death & respawn and save points, etc.There’s something weird about save points in Brokeback Mountain
E.g. IdolThe tyrant’s dilemma. Gibson quote….“how much cooler would MacBeth be if the audience got to choose the ending!!!”
Referencing games because tech is just now getting to the point where TV execs have to learn what game designers learned in 1983Video games of the 80s and branching narrativex2 content build for ½ audience
Hopscotch & CYAWhat % of your books are CYOA?Fundamentally unsatisfying because you are breaking suspension of disbelief in the most damaging possible way.
Agency inside a narrative – the fail state conundrum
A modest proposal: think about giving players agency – buttons to push and things to do – on the other side of the curtain.
Pages of the bookAudience assembles a narrative, but the narrative they assemble is fixedAlso true in parts for many of our ARG gamesProNarrative keeps shape & timingConAudience has to be convinced it’s worth putting in the work. This requires either a known IP, or a fascinating open, or both
Same idea, moved to mobile
Audience chooses how and when to interactI likeDoesn’t screw with the narrativeConConfusingWhy do I care?
Doesn’t suffer from the same problems as Voyeur, because it cheats:We know the narrative before we startIf you made this out of a story people didn’t know, a very small group of people would think it was AWESOME…and everyone else would go watch How I Met Your Mother on TV
ProIncredibly fun and socialPeople recruit their friendsConLimited gag
ProLines are pre-determined – audience gets to say themSocial and empoweringConEvent-based, ephemeral (twitter doesn’t archive)Works best with a known IP, althoughUndead Pride Day – Audience as Actor in a Sandbox. Great fun…but not what we normally mean by “storytelling by the benevolent tyrant”
Guided narrativesARG/roleplaying space, from The Beast to The SpiralThe more freedom you allow players to have, the more nimble and responsive the showrunner needs to be.ConTends to real timeexpensive
ProCan work with novel content if the twists and turns are sharp enoughCould even be applied to existing contentAudience participation sharpens focus on story instead of detracts from itThis is what we do when we hear stories – what comes next?ConLongs for a more complete market and reward structure, and yet completely cheat-able