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The Muppets parody The Girl With The Dragon Tattoo - the trailer everyone is talking about
Are you sure you want to delete this scoop?
Everything you ever wanted to know about the nation's favourite postman.
Watching television used to be a group activity - can social media integration make it so again?
In fact, there's a science to how colors are used in your favorite comic, and, while it may seem like a small thing, the inks used drastically affect your user experience ...
The surprising popularity of casual games among even the hardest of the hard-core foreshadows a sea change for an industry that over the years has grown to resemble Hollywood, complete with star directors, creaking franchises and budgets that dwarf the annual operating costs of a small city.
This search for a human angle is what makes Twittamentary so watchable. The introductory scene gives the viewer a brief grounding in what Twitter is and some of the numbers around the site – 350m tweets a day – to give a sense of scale. Then the stories take centre stage.
As soon as Tokyo Game Show opened, I made a beeline for Theatrhythm Final Fantasy. The promise of a rhythmic music action game based on the great music of the Final Fantasy role-playing game series proved much too much to resist.
I don’t know how easy it is to find 3D content to watch on US television, but here in the UK, subscribers to Sky at least should find it pretty much a cakewalk.
The thrill of survival in the face of danger is so satisfying and scary that we recreate it in a thousand ways, among them the adrenaline-pumping sensations provided by video games.
Fantasy murder is the best kind, no doubt. If you actually had to go through with killing someone, all kinds of disagreeable realities (e.g. blood, guts, irreversibility, a grotesque corpse to dispose of, plus shame, remorse and possible detection) would be bound to come in and ruin the whole thing.
'While some book-apps have done well – Alice for iPad made a packet, and Faber's The Waste Land recouped in less than two months – there's a creeping sense elsewhere that apps aren't (yet) as lucrative as many publishers hoped.
On Saturday we brought you the highlights of the first part of my conversation with StoryWorld Conference Chair Alison Norrington. After the break, read the highlights from the rest of our talk, including a lot more about the conference itself.
When we make films – even 2D films – you’re always trying to create this illusion of 3D, anyway. You’re trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there’s a world.
As Postman Pat turns 30, he and Jess are making a move to the big screen. But what explains the television postman's enduring appeal?
What’s interesting is that the infinite variety of Source Code‘s narrative multiverse could allow the show’s creators to set their stories both in and not in the same “world” as the movie.
Zombies, Run!is a mobile app designed to encourage runners to step up their game through a story-driven transmedia adventure that sends players on a race to...
Cellphones might be the physically smallest of gaming machines, but they're making a big footprint at this week's Tokyo Game Show.
"Story" has been with us for as long as we have been communicating. We tell stories to better understand how we can or should move through life. Existentialists such as Paul Ricour and Peter Brooks...
Joe Utichi: Review copies of the Blu-ray boxset containing another re-working of the space saga were unavailable a week before release. What are these versions hiding?
We speak to Alison Norrington of the StoryWorld Conference about the growing demand for transmedia and trends for games for change makers...
Will characters that lack a traditional narrative create the emotional bond with consumers that is essential to establishing a long-term franchise and continued revenue? [A look at Angry Birds & Club Penguin, amongst others]
We Interrupt This Broadcast To Bring You… No More Interruptions.
The traditional media model of gatekeepers is slowly giving way to niche communities that source and inform the creative process. The new era of storytelling is upon us, thanks in large part to the social web.
With the advent of digital devices and rich new ways of shaping content, the pressure is on to rethink how we produce and present our stories.
Panelists at Innovation in Entertainment, as the evening was billed, discussed the new ways people consume entertainment, how much they’re willing to pay for it (increasingly, that amount is nothing, one said), and whether they’ve even caught up to all the technology out there.