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Tribeca Hacks Racontr keynote
The document discusses several types of interactive and transmedia storytelling forms including interactive documentaries, news games, web documentaries, augmented reality games, and transmedia storytelling across TV shows and mobile games. It outlines recurring features such as nonlinear narratives, multimedia content, and user-generated content shaping the experience. Main challenges discussed include balancing interactivity and narrative, preventing content overload, and coordinating a coherent transmedia experience. Common mistakes mentioned are lack of resources for other platforms, parts of the experience not standing alone, and forgetting to tell a story.
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Tribeca Hacks Racontr keynote
- 26. recurring features: • multiple-choicesinterfaces • multimedia content • non-linear narrative structure main challenges: Hollow (Elaine McMillion) | Interactive documentary • going non-linear without sacrificing narration • keeping a balance between interactivity and author’s intention • making the interaction the story frequent mistakes: • content tsunami • narrative maze • non-contributing interactivity • ergonomical nightmare Gaza Sderot (ARTE) | Webdocumentary | Documentary
- 27. recurring features: • seriousintentions combined with playful mechanisms • «classic gaming» features : levels, rules, rewards... main challenges: Type:RIder (ARTE) | Mobile & social game | Interactive installation • 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 SPENT | News game
- 28. recurring features: • TVor cinema-centered • long-lasting experiences • special content for hardcore fans • strong ties with marketing campaigns main challenges: Defiance (SyFy) | TV Show | MMORPG • preserving some distinction between transmedia and marketing • spending more time for the 5% of hardcore fans than for the other 95% • keeping the whole experience coherent frequent mistakes: • lack of resources for platforms other than the main medium • some parts of the experience don’t stand alone The Spiral (ARTE) | TV Show | ARG
- 29. recurring features: • thinline between reality and fiction • players embodying fictional characters, much as in role playing • results of the ARG shaping the unfolding of the transmedia experience Alt-Minds (ARTE) | Mobile game | ARG | Webseries 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 Why So Serious | ARG
- 30. recurring features: • offeringusers to co-create the project • content also available for noncontributors • UGC or contributions shaping the whole transmedia experience Une Contre-Histoire des Internets (ARTE) 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 Life in a Day (National Geographic & YouTube) | Feature film
- 31. • gamedocs • mobileapps • digital publishing • social games • second screen apps • long-form articles • interactive webseries • role-playing on social Fort McMoney (ARTE/ONF) | Gamedoc | Documentary networks • tweetterature • and whatever we’ll do with Google glasses... Snow Fall (New York Times) | Long-form interactive article
- 73. Thank you foryour immersion in this keynote! #TribecaHacks @racontr Content, ideas and material partly stolen from Florent Maurin, Gerald Holubowicz, David Dufresne, Ian Schreiber and probably others I forget.