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Lauren Davis: "Earlier this month, Harry Potter creator J.K. Rowling released a short piece of prose that offered a quick look at Harry Potter and his Hogwarts classmates as adults. The response indicated that fans are still hungry for stories of the wizarding world—and perhaps it's time for someone other than Rowling to give it to them."
Are you sure you want to delete this scoop?
Karim Ahmad: "Consider: your film exists in a storyworld. The time, the place, the characters; you’ve created all of it already. A community of stories, ready to be told. "
Here is some pure "Gold" tips for anyone. Storytellers, Filmmakers, Teachers, Writers, Businessmen and entrepreneurs.
This article is written for Filmmakers but it do have some essential truth that works anywhere with a little translation.
Click and check it out.
Frank Rose: "Behind the savage bloodshed, naked power lust, and epic betrayals that make HBO's Game of Thrones so enthralling to watch are the languages created for the show."
Mike Jones: "What place has a writers-room in the development of a museum exhibition? How do you write a spatial, immersive narrative for a museum audience? What is the role of Genre and Dramatic Storytelling to a Museum collection?"
I'm really intrigued by this thought process:
"This idea of research positioned as a Secondary rather than a Primary phase of exhibition development, may seem an anathema to traditional museum process but it is fundamental to an audience-centric rather than curator-centric result. By framing the storyworld at a high level first, the process of researching has parameters built from the intended experience of the audience, rather than the subjective or personal inclinations of curators or an pre-determined idea of ‘knowledge that should be imparted’. "
Scott Walker: "This interview with Clockwork Watch founder and visionary Yomi Ayeni is making its appearance just in time for the year-end holidays!"
Mike Jones: "Like any narrative genre, Post-Apocalyptic fiction can be understood as a response to social fears - a metaphoric framework for exploring ideas about humanity that stem directly from where we are in the present day " ...
Adam Rogers: "Kevin Feige helped Marvel unite its superhero movies into one interconnected universe. With a Superman and Batman movie on the way, will Warner Bros. be able to do the same?"
Image: Jon Favreau in Iron Man (Marvel)
Interesting article. -
In the midst of the massive geek Mecca that is San Diego Comic-Con, the big Marvel Studios movie panel had all the theater of a presidential campaign rally. Tom Hiddleston appeared in costume as Loki, the bad guy from Thor, and rallied the crowd in character. Then: so many movie stars, including the full casts of the upcoming Captain America sequel and Guardians of the Galaxy. And just when it seemed like it was over, Joss Whedon, patron saint of nerds, walked out for a Steve Jobsian one-more-thing and introduced the first teaser for The Avengers sequel. Eight thousand fans, some of whom had been waiting in line since the night before, shrieked like their souls were being ripped from their bodies.
Click to read it all -
Jon Negroni spent one year untangling the secret world hidden deep within Pixar films. What he found was a universe to which every Pixar character connects.
Wow! Everything Pixar, a giant transmedia storyworld?! You can see why it took Jon Negroni a year to research this. What do you think?
With media becoming pervasive and every one of us capable of making some degree of noise, how do you cut through a 'chaotic storm of omni-casting for many' to reach your target audience?US based transmedia luminary Jeff Gomez, who has worked on 'blockbuster universes' such as Pirates of the Caribbean, Halo and Avatar, shares some of his expertise with Fiona Milburn.
Jeff Gomez is always very generous with his expertise and this week he agreed to answer some questions on how smaller content producers can utilise transmedia storytelling techniques in their own work.
#XYEYE #transmedia #JeffGomez
"Interesting take on sub categories of Transmedia. Popularised by Jenkins Transmedia 202: further Reflections, paper; Transmedia Activism and Transmedia Branding are now becoming organic extensions of Transmedia Storytelling. Looking forward to seeing Jeff in NZ"
Jeff Gomez: "Oz is one of the most fully realized fictional worlds in literary history, so the prospect of Disney allowing different facets of that world’s many lands and rich history to be explored through the lens of Raimi’s reimagining and across multiple media platforms is fascinating."
Great analysis, as always, from Jeff Gomez.
Mike Jones: "In any discussion and professional practice of ‘new media’ there is a swag of terminology that gets kicked around; cross-media, multi-platform & transmedia, interactive and pervasive media, emergent, non-linear and participatory storytelling, etc etc…"
This post is full of interesting nuggets of information. From definitions, to examples, to process and opinion, this post takes you past cross-platform, multi-platform, and transmedia, into the realm of immersive experiences.
Very interesting reading -
Integrated writing, many modes for writers today.
Saladin Ahmed: "What attracts people to fantasy? Is it the orcs and the elves, or the rich worlds they inhabit?"
How much detail is too much detail when building fantasy story worlds?
Mark Harris: "[...] the premiere is not just about coming to see a film, it’s about coming out for a whole evening of exploring the story world, with the film being one aspect of that exploration."
This is the first in a series of posts examining the storyworld premiere of The Lost Children. I, for one, am looking forward to reading more ...
Tags: Storyworlds, Transmedia, Filmmaking
"Taking the example of one of his transmedia productions, [Nuno Bernardo] beActive's CEO shares tips on how to create meaningful virtual worlds"
Esther Inglis-Arkell: "Worldbuilding is a major challenge for science fiction creators -- building a plausible world from scratch involves thinking about lots of variables. But sometimes, to imagine the future, the best way is to look to the past. Classic literature can help you build a world more believably alien than anything you've yet imagined."
Focused reading of exemplars (master works) will improve writing.
Worldbuilding is a major challenge for science fiction creators — building a plausible world from scratch involves thinking about lots of variables.But sometimes, to imagine the future, the best way is to look to the past.
Classic literature can help you build a world more believably alien than anything you've yet imagined.
You will find great tips here and be sure not to skip the comments.
Click the headline.
Max Follmer: "[...] with rapidly increasing competition for viewers, growing smartphone and tablet penetration, and the emergence of new platforms, marketing and creative teams are increasingly playing an important role in developing “storyworlds,” experiences that bridge the gap between marketing and content and lay out the mythology, characters, setting, backstories, and events that drive a show."
Eight tips on what to think of when creating transmedia.
Another important resource for my #DMPS2014 project.
“As the battle for viewers’ attention becomes more and more intense, we’re seeing marketing teams start to build their storyworlds earlier and earlier ahead of launches.”
Popular television shows like Mad Men, Breaking Bad, The Walking Dead, The Good Wife, Dallas, and others do a great job of using transmedia to turn viewers into disciples and also attract new viewers.
Borys Kit: "Marvel's success with "The Avengers" prompts five studios to develop interlocking superhero movies, from Warner Bros.' "Man of Steel" sequel to Sony's "Spider-Man" expansion plan."
David Colson: "Games have always fascinated me far more than any other medium of entertainment and art because of how many levels of interaction they have" ...
A very interesting article on creating storyworlds in video games.
Learning by doing or through play has always been a successful method - today it's the same but in digital format and far more engaging - will it have better results than non digital story telling / teaching methods?
add your insight...
Storytelling for games seems difficult because the original author has to come up with so many alternative endings. Whoever is playing the game hears and sees a story that is uniquely theirs. This type of interaction really does set gaming apart from other types of media, such as television and film. I believe this is what attracts people to games. –Aellise Czupryna
Kirsty Stark (Producer), Ella Macintyre (PMD) and Victoria Cocks (Writer/Director): "One of the first questions we’re asked when people hear about Wastelander Panda is “How did you come up with the idea?” It’s a strange concept – the meshing of two ideas that don’t necessarily fit – but this seemingly incongruous pairing is one reason we believe the project has had so much attention so far" ...
A great article about a great project!
Victoria wanted to try to translate the experience of her favourite video games to film – where players don’t just have one pathway to follow, but can go out and explore a vast world. She came up with the idea of a post-apocalyptic wasteland. The idea of the protagonist being a panda started as a rhyming joke – Wastelander Panda! – and became more serious over time
Interesting post on the making of a movie with a limited budget and no apparent experience.
Charlie Jane Anders: "Worldbuilding is an essential part of any work of fiction. But especially for science fiction or fantasy, it's the lifeblood of storytelling. But when worldbuilding fails, it can wreck your whole story, and leave your characters feeling pointless. Here are seven deadly sins of worldbuilding" ...
Really helpful checklist for the novelist (or screenwriter or playwright).
How do they eat? What do they eat? Who takes away the garbage? Who deals with their bodily wastes? How do they get around? What do the majority of people do to survive? You're not just constructing a society, you're creating an economy. People don't oppress each other for fun — usually, systems of hierarchy and oppression have an economic component to them. Maybe you need a lot of peasants to grow labor-intensive crops, or maybe you need lots of cannon fodder in your space war. Maybe your only source of protein is a weird fungus that needs to be tended by specially trained people. Maybe everybody's eating algae. In any case, there's nothing worse than a fictional world where there are elaborate social structures, which seem completely separated from the realities of food, shelter and clothing.
click to read them all -
Having worked on an even smaller RPG project, I've had to build out and consider all aspects of our world both visually and wrt narrative. Responding to situations required designing the society mindset. Without that mindset, we wouldn't have known how to visually represent our world economically, socially aesthetically and politically.
Caitlin Burns: "Many people look at Vin Diesel and see the well-muscled action star of The Fast and the Furious; the high-speed, high-testosterone thrill ride that dominates box office figures with adrenaline fueled car chases."
Transmedia projects are for those willing to play the long game
Gianluca Fiorelli: "Every brand has a story to tell, and the way users consume stories is changing faster than ever. How will you tell your brand's story across multiple media outlets and platforms, while still giving users an active role in the expansion process?"
An excellent look at transmedia storytelling and fandom.
Brand experience is already 'transmedia,' but the opportunity with media convergence is to make it a coordinated story-based experience designed for audience participation. Narrative = cognitive coherence and participation = stakeholders.
Simple but genius.
Randy Astle: "Transmedia by definition requires producers to work in more than one medium; the fun, most of the time, is in devising ways to carry a narrative (or narrative world) across different platforms" ...
Randy Astle takes a look at two literary projects whose digital publishing strategies "can be extrapolated to film and transmedia projects for producers who aren’t interested in writing the next great American novel".
Interesting - Click the headline for the full story.
The book business need this kind of thinking
The future is now
Lucas J.W. Johnson: "An article today on NPR about fantasy world-building suggests that what was once for the most outcast of nerds is (along with general geekdom) gaining more widespread acceptance [...]"
Lucas Johnson provides a transmedia context to yesterday's scoop: At Home In Fantasy's Nerd-Built Worlds.
Mark Harris: "Part 1 of this series laid out the overall plan for The Lost Children Premier event at Film Society of Lincoln Center in January 2013.
In this post, I’m going to focus on some thinking behind the live immersive portion of the event."
Continuing this excellent series of posts ....