DAY 2 – Morning Talk: It all started with a Mouse – Orrin Shively (Disney) in conversation with Alison Norrington Mickey’s 10 commandments (by Marty Sklar): Know your audience. Wear your guests’ shoes. Organize the flow of people and ideas. Create a weenie. Communicate with visual literacy.
As the concept of transmedia storytelling becomes increasingly mainstream it is important that we do not lose ourselves in continuous debates on what transmedia storytelling is and what it is not. It is relatively easy to theorize and predict with no end; what is considerably harder, however, is to turn all this transmedia theory into practical advice. Granted, we are still experimenting a lot with what works and what doesn’t, but I do believe that it is important to begin to compile transmedia successes, basic economic mechanisms, and common-sense into manuals, guide-books, and/or best-practice sets. What follows is my attempt
Last week I had a very interesting conversation with Kathy Franklin, President Franchise Development at Lightstorm Entertainment. Kathy has a long-standing background in franchising after having worked at Disney for almost eleven years and now heading the franchising efforts for James Cameron’s Avatar. During our chat, Kathy pointed out a very important challenge for traditional franchise development in the face of transmedia: Until recently, the goal of developing franchises was usually monetization through repurposing, whereas the concept of transmedia storytelling focuses primarily on the (more costly) expansion of the story itself. While this was, of course, no news to me,
Tonight it was time for another ad-hoc Transmedia LA Meetup. This time the guest was Prof. Henry Jenkins, one of the earliest thought-leaders on transmedia and convergence culture. I am basing the following paragraphs solely on the notes I took during Henry’s talk, so they are no word-for-word transcription. As a matter of fact, I will be paraphrasing most of the time. If you see phrases or sentences in quotation marks, they denote a word-for-word citation, but everything else is just summing up Henry’s words.
You may already have come across the term ‘platform potency’ in the ‘Transmedia Defined‘ section of this website. Platform potency is a pretty big concept so I’d like to explain the term in a little more detail. Platform potency is a media platform’s ability to convey a certain narrative (or part thereof) to audiences in the most effective way possible. Platform potency is determined by each platform’s defining characteristics, mostly format (e.g. length, voice, narrative structure) and audience reach (e.g. mass vs. niche).
This is Part 3 of my ‘Why Transmedia’ series. Please click to go to Part 1, Part 2, and Part 4. Transmedia Possesses a Great Economic ROI Needless to say, transmedia universes harbor immense economic opportunities. Of course, as with all business enterprises, a certain amount of risk remains, but careful research, planning, and a great product offer just as much of an insurance against that in transmedia franchises as in other products. So far, the most visible transmedia storyworlds – Harry Potter, The Matrix, and Pirates of the Caribbean, for example – usually had as their driving platform
Why transmedia? (Note: This is the first part of my ‘Why Transmedia?’ series. Please click to access Part 2, Part 3, and Part 4.) Well, first of all, because it’s FUN. Depending on the type and intricacies of a transmedia universe, it can be one of the best puzzles you’ll ever solve. In a good story universe, you have an immense number of stories and characters inviting you to learn about them, and in a good transmedia universe, this learning happens on many different media platforms where the unique properties of each platform are deliberately used to allow the consumer