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Movie news site TheWrap.com published an insightful summary of Hollywood’s ongoing restructuring in the light of cross-platform synergy and transmedia development. A few passages catch the eye:
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"Clockwork Watch is an immersive participatory story set in a retro-futurist vision of Victorian England. The narrative is played out across graphic novels, interactive promenade theatre, freeform role-play, online adventures, an interactive book, and a feature film."
For more on this fascinating transmedia project, visit their website.
Scott Walker: ' In this interview, we meet another of the collaborating authors, MeiLin Miranda, who shares her thoughts on DRM, collaborative worldbuilding, and something called an “angler bug.”'
Scott Walker: "Earlier this month I attended my first FMX conference, an annual event focused on animation, effects, games and transmedia" ...
DRC: A fabulously in-depth post from Scott Walker.
SSWs present some very interesting opportunities (and challenges) from a copyright perspective.
[An informative look at Creative Commons for copyright considerations when creating Shared Story Worlds.]
I wanted to see if I could have the LARP begin well before Wyrd Con and continue after the convention was over by using a persistent world setting as the backdrop for the LARP and having the story start before Wyrd Con and continue after the LARP.
[Wyrd Con is a "convention focused on live action role-playing (LARP)".]
Earlier this year at the StoryWorld Conference, Andrea Phillips approached me and proclaimed, “You know, I really, really, really hate the term, ‘value co-creation!’”
[Before reading this, you should first read Andrea Phillips article @scoopit http://bit.ly/vFrXuT]
If you've been enjoying the series of posts on the business of transmedia, by Brian Clark, then you'll find this post, by Scott Walker, a very handy summary. If you've yet to read Brian Clark's posts, then consider this a handy intro ... Brian Clark's first (of 5 posts) can be found @scoopit http://bit.ly/stpVJy
Chances are you’re launching a SSW in order to make money. Maybe not enough to retire on, but more than zero. If so, you have a lot of options for opening the revenue doors.
Next, think about what you want your audience to be saying about you. Whether it’s in social media or walking out of the movie theater after the show, we all have something pretty specific we want to be buzzing off of people’s lips.
One of the questions posed to me when I guest Skyped into the Transmedia Vancouver Meetup regarded demographics and participation rates (i.e., is the traditional 90/9/1 rule still applicable in shared story worlds?).
This is the first in a series of posts regarding shared story world design The genre you choose for your SSW will have a direct impact on how people c...
Scott Walker: "The panel attempted to explore design considerations for worlds meant to hold more than one story, whether it be a franchise, a transmedia property, or a multi-medium experience" ...
Scott Walker: "In this post, Corey [Reid] talks about the benefits of combining an open world setting with traditional, linear stories and why (and how!) he’s using Creative Commons to integrate a collaborative world building framework with a structure for commercialization of stories set in that open world."
Mur Lafferty: "Worldbuilder is the open story world connected to Adam Christopher’s novel, “Empire State.” Most publishers worry about fanfic, but we welcome fan-created projects. We post connected stories, music, comics, etc on our page at Empirestate.cc."
A few days ago I stumbled on a promising new shared universe project being led by Joseph Robert Lewis, a prolific self-published author.
[A look at the design concepts behind the creation of a new fantasy world called "The Drifting Isle Chronicles."]
The full vision involved publishing content across multiple platforms in an integrated approach to produce an experience for fans that ultimately walked them right up to the release of “Nightshade.”
[A great case study in "interactive world-building experiences".]
After posting several entries on SSW design, Scott Walker had the chance to expand on them at DIY Days L.A. 2011.
[Scott Walker's original posts on Shared Story Worlds @scoopit http://bit.ly/pXz0xA]
New Edition of Brian Seth Hurst's StoryCentered Column Features Brain Candy's Scott Walker Discussing Fan Fiction and Fan Communities
Normally, canonical content is generated by the internal creative team behind an entertainment property.
The concept of a world bible is a tried and true practice in many creative areas, especially for serial storytelling like television or large entertainment...
Your decision about which mediums you want to play in for your SSW and which mediums you want to accept from contributors obviously have an effect on many aspects of your SSW design ...