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The Pixel Lab 2015 | Designing the new narratives - Adam Sigel

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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.

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The Pixel Lab 2015 | Designing the new narratives - Adam Sigel

  1. 1. Designing the New! Narratives ! Adam Sigel ! Cutbait Productions ! #PixelLab! @powertothepixel!
  2. 2. The Ultimate Dinner Party Experience Experimentation Release of Control
  3. 3. Designing the New Narratives !
  4. 4. Designing the New Narratives Have you ever been Experienced?
  5. 5. From Spectacle to Story Had to evolve the film experience
  6. 6. Convergence – What’s old is new again Additional dialogue Advertise movies Trivia about Actors Movie Star is born
  7. 7. Subjective Identification - Expand the first part of the story of “Psycho” Feelings of empathy - Anxiety, Chaos, Guilt, Suspense and Tension - Building up the moment and then the release Hitchcock - The Classic Auteur
  8. 8. The scene that shocked the world and ruined the shower forever.
  9. 9. Rules of Engagement: How Hitchcock made “Psycho” into a multiplatform experience Deal with impact of TV Make it an event - reason to come to theater. Change behavior — Watch from the beginning
  10. 10. Rules of Engagement: How Hitchcock made “Psycho” into an multiplatform experience
  11. 11. Early activities - Books, Oaths Rules on how the movie would be screened Security on hand to prevent riots Hitchcock audio recordings played in the lobby The first Blockbuster Rules of Engagement: How Hitchcock made “Psycho” into a multiplatform experience
  12. 12. Innovation Born of Idiocracy The revolution will be an accident
  13. 13. Innovation Born of Idiocracy The revolution will be an accident $31 M in 10 days Over $50 M total Sony’s #1 online release of all time Studios are changing how they release films (mostly Indies)
  14. 14. “That a tale shall accomplish something and arrive somewhere” - Mark Twain
  15. 15. Audience Engagement Art is wedded to engagement Guided by user behavior Levels of engagement
  16. 16. Welcome to the Convergence Telecommunication has gone from scarcity to limitless abundance. Audience interactivity morphs the passive audience into an engaged audience. Colin R. Blackman
  17. 17. Audience Engagement Creatives have an opportunity to explore and continue creating Guided by user behavior Make it an event
  18. 18. Levels of Engagement Three Levels: Passive - Traditional Casual - Minor Commitment Active - Story comes to Life Audience Engagement
  19. 19. Passive Engagement – The World & Genre Audience Engagement Traditional marketing with community management Assets created to promote central component. “In space no one can hear you scream.”
  20. 20. Casual Engagement - Minor Commitment Audience Engagement Games & Apps go beyond central storylines Interface requires some participation Parallel, mirrors, expands story of the main component
  21. 21. Active Engagement – Story comes to life UGC, ARG, LARP Real World & Virtual Major Release of control As participation requirement increases, number of participants decreases Audience Engagement
  22. 22. Examining Engagement Aesthetic And Integration Looking Inside
  23. 23. Narrative Aesthetic … In a language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative… Must have six parts, which determine its quality Plot Characters Diction Thought Spectacle Melody Aristotle
  24. 24. Narrative Aesthetic Important part of gameplay Creates sense of immersion Can over-complicate and deter users Fragmentation
  25. 25. Narrative Aesthetic Generative User Generated Content is king Dynamic – Time is part of the story Responsive – Like a Meme Gives authorship to the audience
  26. 26. The Culture of Participation “Fans are the most active segment of the media audience, ones that refuse to simply accept what they are given, but rather insists on the right to become full participants.” Henry Jenkins,  Convergence Culture
  27. 27. Culture of Participation “Participatory Culture” by Henry Jenkins 1. Low barriers to engage 2. Sharing 3. Training & passing of knowledge from a mentor 4. Belief that contributions matter 5. Social connection with each other 1. Call to Adventure 2. Supernatural Aid & Threshold 3. Challenges & Help from the Mentor 4. Revelation & transformation 5. Atonement & Return “The Hero’s Journey” by Joseph Campbell
  28. 28. ABOUT STORYWORLDS… Topos - Settings Mythos - Mythology Ethos - Character, Themes, POV
  29. 29. Topos - Settings Physical and material landscape Social and temporal aspects Technological STORYWORLDS
  30. 30. Mythos - Mythology Backstory - What got us to this point Timeline / Chronology - key events in history Archetypes - Shapes how we perceive characters STORYWORLDS
  31. 31. Ethos - Character, Themes, POV Morality - Codes of behavior & ethical questions Values - What matters to the characters Perspective - The Center of Good STORYWORLDS
  32. 32. Narrative Aesthetic
  33. 33. Narrative Aesthetic Fractals Fragments that replicate the original Sub-plots, mirror stories Help reinforce central theme and story
  34. 34. Narrative Aesthetic Facets Fragments are parts of the whole, distinct purpose Franchise, may or may not be connected Extend world and brand
  35. 35. Merchandising (Monetization) - Marketing - Community M.M.C.!
  36. 36. Merchandising (aka Monetization) The Business Model Is it a process or a product? Each component is: Unique (Content) Complete (B-M-E) Benefit (Value)
  37. 37. Merchandising (aka Monetization) Disney: The King of Franchise Transmedia is working when you don’t notice it
  38. 38. Narrative Integration
  39. 39. PLATFORM SELECTION Each has its own kind of experience vectors MOBILE WEB GAMING EXPERIENCE FILM/TV REAL WORLD/EVENTS COMMUNITY Narrative Integration
  40. 40. Social media platforms have unique characteristics
  41. 41. Social media platforms can have context collapse
  42. 42. Community The Social Proof Fans and Followers are the new currency
  43. 43. ABOUT STORYWORLDS… Topos - Settings Physical and material landscape; Social and temporal aspects; Technological Mythos - Mythology Backstory; Timeline / Chronology; Archetypes Ethos - Character, Themes, POV Morality / Codes of behavior; Ethics & Values - The Center of Good
  44. 44. Branding Finding the “Trans” Madison Avenue developed many of the tricks — Marketing has always been part of the story
  45. 45. Building Your Brand Brand as an account Deposits and Withdraws
  46. 46. The Brand Account - Star Wars
  47. 47. What is point? If you want to send a message, try Western Union. Frank Capra
  48. 48. GET TO THE CORE
  49. 49. GET TO THE CORE The Strategy is the road map The Core is the driver of your story
  50. 50. Strategy Defined: A plan of action designed to achieve a particular goal. A media plan defines the roll-out strategy. Driving platform and evolution of experience. Always remember your CORE. PLAN OF ATTACK
  51. 51. A strategy to do what? How to break the Internet?
  52. 52. What is point? If you want to send a message, try Western Union. Frank Capra
  53. 53. Thank You @cutbait
  54. 54. The Medium is the Message Audience Engagement
  55. 55. The Four E’s Experience Everywhere Exchange Evangelize
  56. 56. Designing Narratives Have you ever been Experienced? Viewers are now users Complex Engagement Release Control
  57. 57. Designing Narratives Here, There, Everywhere Users want to access content when and where they want. Each component is complete Users control amount consumed
  58. 58. Designing Narratives Exchange = Engagement Prizes (contest) Causes (feel good) Status (scarcity) Fun (it’s fun) Value proposition
  59. 59. Designing Narratives Spreading the Word What makes something viral? Users will promote what are invested in. Community building
  60. 60. Touch points are how we engage with the world Finding them is not a science Narrative Integration
  61. 61. PLATFORM SELECTION Each has its own kind of experience vectors MOBILE WEB GAMING CORE EXPERIENCE FILM/TV REAL WORLD/EVENTS COMMUNITY Narrative Integration
  62. 62. I  doc  examples   http://www.invisiblepictureshow.com/   http://www.48hourgames.com/   Serous  games  –  Paper’s  please   http://www.slate.com/blogs/future_tense/2013/08/23/ papers_please_serious_video_game_raises_tricky_moral_questions.html   Community  Building  /  Engagement   https://www.youtube.com/watch?v=fW8amMCVAJQ   http://www.participantmedia.com/   http://www.bokabuddies.co.za/wordpress/archives/1564   MIT  doc   http://docubase.mit.edu/  

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