When developing a television show – be it a live show, a documentary, a drama series or something else – with social interaction, audience engagement and interactivity in mind, using transmedia storytelling methods make very much sense.
The project will consist of four pilot studies. These studies will allow us to gain experience of using a range of different approaches to digital storytelling and also a variety of new technologies for digital storytelling.
Lonelygirl15 writer and ARG creator Jan Libby is currently seeking Kickstarter funds for a new alternate reality game experience called Snow Town, but the underlying technology could become a secret weapon for creating transmedia experiences.
Latitude Research helps clients create engaging content, software and technology that harness the possibilities of the Web. Join us in exploring where the Web can go next and how you can help lead the way.
It may be the largest entertainment production in history. More than 800 people on four continents have spent six years and nearly $200 million creating it. The story runs 1,600 hours, with hundred...Even among its interactive peers, the Old Republic is touted as a great leap forward. Much as the first “Star Wars” movie in 1977 changed film history, its makers hope to create a new gold standard for gaming.
“We want to do to other video games what talkies did to silent films,” said Rich Vogel, co-director of the studio leading the game’s production.
As 2011 came to close and predictions were made for the future of the publishing industry, several sources within the industry supported the idea that transmedia reading was going to see huge gains in popularity this year as readers come to expect more from the technology behind e-reading and as authors and publishers clamor to stand out in the vast crowd of ebooks. So far, one of the largest audiences for transmedia content has been children’s book buyers. Several companies have grown exponentially due to the readily available consumer base who want their children to read engaging content, yet also love the convenience and educational opportunities that digital reading affords them.
As of December, the usage of mobile apps has skyrocketed to 94 minutes per day, while web consumption dropped to 72 minutes.
Flurry notes that roughly 40 billion applications have been downloaded from the iTunes App Store and Android Market since their debuts. And we’re only at the beginning of the mobile app era. As Flurry’s end-of-year research found, the addressable market for mobile app developers is still in the millions.
'In an age of digital storytelling, the distance between author and reader is rapidly shrinking, and the roles those parties play are rapidly changing. One of the most radical concepts that I've come across during my research of transmedia storytelling is the "unbook."'
According to Wikipedia: Augmented reality (AR) is a live, direct or indirect, view of a physical, real-world environment whose elements are augmented by computer-generated sensory input such as sound, video, graphics or GPS data.
Context is even more King, is something that has been argued lately, especially if talking about multiplatform, cross media and transmedia. Now, what we need to do, is create compelling content in the right context and infuse ...
two innovative projects which seek to explore the intersections between transmedia storytelling, participatory culture, and education -- Robot Heart Stories and Inanimate Alice. Here's some background on the two projects, taken from their respective home pages:
No one would have guessed that, more than a decade after "The Blair Witch Project" broke box-office records to become one the highest grossing independent films of all time, audiences would still flock to found-footage flicks.
Diving into the purpose of transmedia storytelling, the common definition is that it is meant to extend the brand reach of the product by using multiple stories that are set in a single universe but told across a variety of outlets.
publishers would be wise to “think not about platforms, but audiences”. A good story should be be immersive and engaging, regardless of the delivery method. Nowadays, it appears multiple means of getting into the story, via multiple entrance portals, is expected.
Carman clarifies further; “It’s not a novel, it’s not an audio book, and it’s not a movie. It’s all three at one time. For some teen readers – the one’s publishing has lost in a rising tide of video games, movies, TV shows, the Internet, and cell phones — this is the kind of experience that will help them enjoy reading again. It’s a lifeline back to books, if you will. For traditional readers, it’s a new way to imagine what reading can be.”
It could be a publishing platform for building and making interactive kids books, with an emphasis on simple creation tools; something easy to use and geared toward helping people build their own digital storytelling projects. It could be like a publishing version of iMovie, iPhoto or GarageBand, a set of tools that enables anyone to put together and self-publish interactive books?
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