I have to apologize for posting so little in the past few months. I have been very busy with different projects, and would like to give you a quick overview of what’s happening with me at the moment.
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
I have to admit that I’ve been avoiding the topic of participation in transmedia (or any media, really). The reason for this is simple; because I’m approaching transmedia from a business perspective in this blog, I mostly see problems of participation at the moment, and very few solutions. Even after thinking about the compatibility of participation and corporate interests for a long while now, I haven’t reached a conclusion on what the best way forward is. Consequently, I’d like to put this question out there to all of you, in the hopes that some of you might offer me perspectives
Looking at mine and others’ re-caps of the recent conferences, it occurred to me that a LOT of ground had been covered – almost too much to make sense of, at least through simple reading. In order to make things a bit easier, I’m going to summarize the main trends and themes that were not only a) repeatedly mentioned at the recent conferences, but are also b) extremely crucial for transmedia, and for this point in time.
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.
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.
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.
Needless to say, today’s workshops at DIYDays LA were filled to the brim with great speakers and innovative perspectives. For those that couldn’t attend today’s workshops, here’s a re-cap of the most important bits: Common Points There were a few common themes mentioned in almost every talk I attended, and they were all based on experiences (good and bad) from existing projects: 1. Your audience consists of three main groups: Casual consumers (around 70% of your audience), active consumers (25-30%) and enthusiasts (5-10%). Your transmedia strategy must try to lead your audience members from casual to active consumers, and ideally
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