Jonas Cuaron, son of Alfonso Cuaron, co-wrote the feature screenplay and directed this companion film called Aningaaq that follows the man on the other end of the radio, an Inuit fisherman stationed on a remote fjord in Greenland.
I have been fascinated by stories in games ever since I fell more and more into the universe of gaming. When I started making games I was convinced stories were the most important thing in games. I read books on game design which stated that games couldn't tell decent stories and probably never will. They told me the important thing about games was the mechanics, story was just a lick of paint. That was several years ago and ever since reading this I have been determined to make stories a part of games that people didn't think of as a lick of paint.
As we’ve been kicking off this process by looking at some of the most interesting transmedia projects out there, I’ve been struck by how few of these projects work in a tablet web browser – the majority seem to be created for desktop computers or as native applications. This is changing but since tablets have been available for more than three years it surprised me a bit. I wanted to find out why this was the case.
"The shadowy BMC Labs is allowing film fans to experience a Cronenberg film IRL via a 3-D printed POD and an AI being. We wanted to make people feel icky," says the project's creator...
Biotechnology startup BMC Labs recently offered famed filmmaker David Cronenberg a staggering eight-figure sum to license the cutting-edge fictional biotechnology in his films to develop the next generation of biotech implants. BMC Labs’ first product to come out of this partnership is the POD implant, a personal, on-demand recommendation engine that uses artificial intelligence to understand what you want, desire or need before you do. Cronenberg, a supporter of vanguard biotechnology, will be the first recipient of this innovative human enhancement.
BMC Labs is in fact a bit of fiction itself, a fabricated entity at the center ofBody/Mind/Change. A collaboration between TIFF and the CFC (Canadian Film Centre), B/M/C is a digital experience designed to be the connective tissue between the elements of David Cronenberg: Evolution, a sprawling exhibit of artifacts and re-issued films from the filmmaker’s career at the TIFF Bell Lightbox in Toronto..."
An all-new, immersive adventure game from the award-winning creators of Myst and Riven.
Justin Nalepa's insight:
Anyone who's been around for the last twenty years can tell you how amazing and innovative Myst and Riven were. The immersive storyworlds, the adventures of discovery and the complex puzzles were ground-breaking in the gaming community. With the advent of crowdfunding, it's about time for a spiritual sequel to these games. I can't wait.
I have a confession: I was part of the problem for American newspapers.
In 2005, I had just started covering City Hall, and I felt like my newspaper career had taken off. I covered people in suits walking fast through an important building. I measured my success by how many times I landed on the Sunday front page.
But I didn’t realize that I was missing the biggest story of all: the information revolution. In fact, I proudly ignored it, rarely thinking about technology or the business of journalism. I started two blogs and tweeted. But I did it reluctantly and halfway.
Think "Choose Your Own Adventure" crossed with the holodeck and Amazon.com.
Many of us go about our lives constantly surrounded by screens, immersed in various "stories": movies, TV shows, books, plot-driven video games, news articles, advertising, and more. Whether we realize it or not, we're creating new behaviors, routines, mindsets, and expectations around what we watch, read or play—which in turn presents new challenges and opportunities for creators and marketers.
In other words, while the fundamentals of good storytelling remain the same, technology is changing how stories can be told. But what does that mean exactly?
"So you've done it. After year's of developing your transmedia project it's finally up and running. But is the end ever in sight?
In most avenues of the arts there is an end game. Whether it be a self-imposed deadline or (more likely) one given to you, at some point someone wants to see the finished product. However, the thing about transmedia (at least on the web side of it) is it can go on, and on, and on."
Our interdisciplinary team at Duke University, the University of Chicago, and the University of Waterloo has just launched a new "transmedia game" or "alternate reality game" called Speculation. This science fiction game concerns the culture of finance and the recent economic crisis. Transmedia games are an emergent art form and storytelling practice that taps into contemporary convergence culture. The most recent trailer leads to the primary Speculation game site. Players can also follow updates on Facebook by friending Nex Noitaluceps.
The first puzzles and narrative fragments were released on Tuesday so there's plenty of time to get in on the ground floor and join the collaborative game community on the main site or in other locations such as the player-created Unfiction forum. The next part of the game will be released on Sunday (April 22) at midnight ET. Everyone is invited to join the collective transmedia play, the discussion forums, and the unfolding narrative.
00c6 is a unicode sequence for the latin letter “AE” (Æ). It’s a transmedia experience about China’s imminent gendercide crisis, with a fictional post-apocalyptic sci-fi webseries set in 2082 as core content.
Released in conjunction with IDFA DocLab 2013, creative pioneers NFB have created a new documentary/video game mashup called Fort McMoney. Visitors to the site play detective, unraveling the many intricacies that lurk beneath the Canadian oil industry.
Set in Fort McMurray, in the heart of the Canadian oil industry, visitors explore a virtual environment where they "discover the city, interrogate its protagonists, and control its destiny".
Visitors can watch interviews with the Canadian environment minister and the chairman of energy giant Total. Other characters also share their views like the owner of a strip club. Data visualizations play a key element in this stunning project.
The X-Men franchise recently released a real-world tie-in/marketing website for the new film X-Men: Days of Future Past. The site and video called The Bent Bullet, weaves X-Men mutants into JFK conspiracy theories blending the real and fictional into an alternative history genre mashup.
UX is short for User Experience Design and since most transmedia projects are designed to create an interactive experience with the audience, you’d think transmedia would have UX nailed. Instead, I often find my first contact with a transmedia project becomes a stumbling block because of poor UX. Maybe it requires me to login with Facebook without giving me a reason why or starts too deeply into an invented mythology or it makes assumptions that I am already an ardent fan so no effort is made to sell me on the story.
Think assigned seating and table service are the future of the movie theater? Think bigger. Andrei Severny argues that what we now call "movie theaters" will soon be theme parks of the mind - but storytelling is here to stay.
It was just more than a year ago that Ev Williams and Biz Stone created the publishing platformMedium.
The Internet officially met the site in August 2012, and since then, Medium’s popularity has grown enough for even the most skeptical media watchers to use the word “momentum.” Medium is still an enigma, however — in how it works (a mysterious algorithm “curates” stories for readers), in its business model, and in what it holds for the future of journalism.
But, as to Williams’ and Stone’s basic hope for the site — best described by the tagline: “A better place to read and write things that matter” — its readers and writers say it’s certainly changing things.
Justin Nalepa's insight:
A look into Medium and the future of long form journalism. Their customized guided reading algorithm sparks some interest as to how we can learn from the way people read and engage with online curation.
The smart folks at Showtime have created a Transmedia campaign for Homeland that serves as a content bridge between Seasons 2 and 3. Check out Homeland Aftermath.
The campaign bridges the gap between seasons by analyzing the events of the finale from the perspective of CNB, the faux media organization introduced in the series. In addition to setting up key Season 3 plot points and themes like the hunt for Brody and the political fallout around the CIA, it also acts as a retrospective to help reacquaint fans with where the show left off.
In addition to the site they also created a 9-minute documentary style version of the experience that Showtime is launching on their ITV platform, On Demand andYouTube.
Great interview between Simon Staffans and Ingrid Kopp. I thought that the point Simon brought up about it being hard to see or understand what part the audience participated in the creation of Hollow was particularly interesting. It seems to be a reoccuring issue throughout many transmedia/interactive projects, that there isn't enough transparency when it comes to audience participation and the creation process. Another interesting point Ingrid brings up is the "Bread vs. Books" debate, whether the creation part is more important than the theory.
Let’s put man in the center of the universe, let’s give him the main role, the role of the king! Let’s talk about the human nature, let’s analyze how man responds to a great content, how people are influenced by content. I did analyze that, and I came to my personal definition of Transmedia from the perspective of the audience: “Transmedia storytelling is the ultimate source of solutions and happiness for an audience, whose entire repertoire of senses and perceptions is engaged through the skillful use of mystery, that generates an overall emotional involvement and leads the audience to copy, decide and finally create their own parallel universe.”