Today I spent the day at the FMX Conference in Stuttgart where I’d been asked to introduce the keynote talk “Envisioning the Literary World of Cornelia Funke.” As you may know, Cornelia Funke is an international best-selling author who has penned Wild Chicks, The Thief Lord, the Inkwell series, and Dragon Rider, for example. In the past, Cornelia’s works have often been adapted to film, theater and computer games. However, after her works had been adapted, Cornelia often felt that they no longer matched the image and vision of the story as she saw it inside her head.
Yesterday I was interviewed by Vanessa Cornford. Vanessa is the Course Leader and a Lecturer of Acting & Contemporary Theatre Making at Northbrook College Sussex. She currently researches whether the trend towards transmedia requires a change in the way actors are trained. Given that relatively little has been said on how acting may be affected by transmedia, I’d like to share some of the points from my interview with you. No matter whether you’re a director, a producer, an actor or a writer – the following notes should be useful to everyone involved in a transmedia project when thinking
You can find the SWC12 re-cap of Day 1 here. As stated in my first re-cap, I will only be highlighting a few of the points that were made, namely those that offered new ideas and/or new approaches compared to SWC11. Thursday, October 18th 2012 Storyworld’s second day started out with a presentation of “Take this Lollipop” by its producer Jason Zada. Jason has specialized in combining video and social media content in a way that inserts the user into the story. If you haven’t seen this project yet, I highly recommend you look it up (and experience it) –
After attending last year’s amazing and truly impressive Storyworld 2011 Conference I was more than happy to be able to attend this year’s Storyworld in Hollywood as well. While it was great to see everybody again, the majority of the presentations and panels unfortunately had only very few new insights to offer. This may be due to a possible indecision among the organizers in terms of whether Storyworld should try to introduce transmedia as a concept to those who have heard little of it before, or whether it should foster a knowledge- and experience-exchange among the existing transmedia community. I
It certainly isn’t news to any of us that the media are changing, and very rapidly at that. The Internet allows us to access any type of medium and any type of content – be it legally or illegally – at any point in time; our media devices are merging into one, so that we no longer have to literally put down our book in order to start a computer game; and to top it all off, the tools of media creation and production not only become increasingly easy to use, but also a lot more affordable. It goes without
DAY 3: Talk: Story Architecture – Crafting Transmedia Design Siobhan O’Flynn, Karine Halpern with Scott Walker How to lead audiences across different platforms is still a challenge of transmedia, and it is a crucial question for experience design. Stories are so popular because they communicate experiences and emotions. Design principles for transmedia stories: Non-linear spatial storytelling – whilst keeping the coherent and cohesive. Break the 4th wall: augmented reality. Transmedia offers tremendous opportunities for individuals to enhance their own experience of the story, to play with the content on their own terms.
In case you couldn’t make this year’s StoryWorld Conference in San Francisco, I’ll be offering a few short re-caps of key talks and themes throughout the next three days. Here we go. DAY 1 – Morning Key Themes: The story remains crucial to transmedia. A transmedia project should not originate from the desire to make use of new technology, but from the desire to tell a captivating story. After centuries of ‘broadcasting’ (radio, TV, film, publishing, etc. – offering mass content to isolated consumers) storytelling now returns to its social roots, particularly due to new media’s possibilities to share content.
My last post on ‘Creating a Transmedia Narrative‘ ignited a lengthy discussion in one of my LinkedIn groups. It seems that some of my readers thought that I was trying to establish that transmedia narratives follow different narrative norms/ no longer need to be based on traditional conventions of telling a story. This is not what I was trying to say. I merely pointed at parallels found in successful story worlds, narrative universes that withstood the test of time and continue to invite producers and audiences to expand their stories across different media. In order to last for decades or
How do you construct a transmedia narrative? Does it differ from stories told in film, books, TV shows, computer games, etc. until today? Yes and no, in my opinion. As a media consumers myself, and having observed and researched several successful and lasting story worlds such as Star Wars, Lord of the Rings, Harry Potter, Star Trek, Buffy, various mangas/animes, and, of course, classics such as The Illiad and The Odysee, I noticed several important elements that allowed these respective universes to live on for decades (or millenia, in the case of the latter two) and to inspire not only
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