bodymindchange.ca The first interactive story experience to generate a physical object, Body/Mind/Change, a TIFF and Canadian Film Centre's Media Lab (CFC Media Lab) co-production starring David Cronenberg, is now open for adventurers who want to...
Here's an awesome set of photos that captures the full BMC Labs installation tied to the http://bodymindchange.ca/ @LanceWeiler has been working on. David Cronenberg stopped by the lab. It opens to the public along with the full Evolution Exhibition in Toronto.
Opportunity abounds in the area of ‘transmedia projects’, or stories and games that span more than one medium or artform...
Opportunity abounds in the area of ‘transmedia projects’, or stories and games that span more than one medium or artform. Dr Christy Dena explains this evolving area of education. This is Part 1 in her blog series.
The power of storytelling, and the use of stories to create an effect, no matter if it's a true or fictive story, simple or extravagant. The principle for st...
The power of storytelling, and the use of stories to create an effect, no matter if it's a true or fictive story, simple or extravagant. The principle for storytelling is that when interior design is telling a story, it's more memorable than regular advertising. Thus, it is also more successful in attracting customers -- since the customers themselves will be advertising and spreading the word when they leave. He will dwell on Umeå, and which forgotten stories from Umeå that are worthy to tell the world.
Play the game here: darfurisdying.com Darfur is Dying is an online flash game designed to serve as an informational entryway to the current genocide in the S...
Darfur is Dying is an online flash game designed to serve as an informational entryway to the current genocide in the Sudan. The game is an exploration of social-issue driven digital gaming and weaves uncomplicated and immediate mechanisms into the gameplay that seek to effect real world change.
Darfur is Dying is a collaboration with mtvU (MTV Networks college network) in partnership The International Crisis Group NGO and The Reebok Human Rights Foundation.
In the game’s first month, it reached 700,000 players. Since then, the game has prompted thousands of people to e-mail the White House or petition local representatives. It has also convinced MTV to include games in all its campaigns.” Time also notes the power of games for learning, social engagement and political action.
Darfur Is Dying depicts the struggle of a single individual to survive in the midst of famine and violence in the Darfur region of Sudan.
The game’s designer, Susana Ruiz, wanted to increase public awareness of this suffering, with the hope that using a game to dramatize the dangers of daily life in Darfur would spur a desire to help the afflicted people.
The game is browser-based. During each turn of the game, players face challenges like finding water, evading Janjaweed militias, and planting crops in an arid, war-torn region.
On the fringes of the videogame world, some developers are exploring deeply personal and wrenching stories
Among the many videogames at a recent arts and games festival in Baltimore, none was more difficult to navigate than "That Dragon, Cancer." The challenge: Getting through it without crying.
The game is about war, but not the bullet-blazing variety normally associated with gaming. It's an autobiographical story that puts players in the role of a father whose 4-year-old son is dying of cancer.
As Hannah Armbruster sampled the game, using a mouse to move a pixelated dad around its hospital-room setting, her face showed none of the excited contortions that might accompany "Call of Duty." She took gulps of sadness and at one point rubbed her forehead in disbelief. When the game was over, she said, "Whoo," removed her headphones and left the computer.
Why would anyone want to put themselves through this? "For the same reason you'd want to read a novel about something really heavy," says Ms. Armbruster, a 20-year-old college student. "There's something really satisfying about experiencing narratives that are outside your own experience."
‘Hollow’, or how crowd-sourced storytelling celebrates local change
Documentary maker Elaine McMillion made a splendid interactive documentary about the brain drain of McDowell County, West Virginia and how its people deal with this and other hardships. Thanks to a Kickstarter campaign and the Tribeca Film Institute’s New Media Fund , she helped locals to tell their own story in ‘Hollow’. Take a look and take your time, because it’s a long ride.
“In this alternate reality experience, one of our characters has discovered some previously unknown facts that could change what we think we know about Walt Disney, Imagineering and Disneyland park,” said Scott Trowbridge, head of Walt Disney Imagineering Research & Development. “Players can participate at different levels of engagement over the six-week story — from leveraging social media and mobile devices to visiting unique physical sites from the story in and around Los Angeles.”
Now that the National Film Board of Canada is not the only big player in the game of transmedia storytelling (outside of the branding world, of course), the Tribeca Film Institute, Mozilla and more are eager to put their money and support behind...
The documentary filmmakers and media producers who are venturing out into the world of transmedia or interactive storytelling have advanced storytelling, but have spent much time, elbow grease, and sweat on their projects.
Over the last ten years, technology has transformed almost every aspect of our lives before we've had time to stop and question it. In every home; on every desk; in every palm - a plasma screen; a monitor; a smartphone - a black mirror of our 21st Century existence. Our grip on reality is shifting. We have access to all the information in the world, but no brain space left to absorb anything longer than a 140-character tweet.
Black Mirror is a contemporary British re-working of The Twilight Zone with stories that tap into the collective unease about our modern world. Each story is in turn, disarming, suspenseful and darkly satirical, and all explore our modern reality.
If you’re a little disappointed at the limited feature set of Google’s Project Glass, there’s a new pair of glasses that might bring all your augmented reality dreams to life. A company called Meta is building a fully hackable headset, complete with visual overlays and gesture detection. Even more exciting, the company has just announced that Steve Mann, a pioneer in wearable computing technology, is joining the team as Chief Scientist.
Meta blew past their Kickstarter goal of $100,000 in five days. Developer kits quickly sold out in the $550 and $650 pledge tier, which is less than half the price of the $1500 Project Glass Explorer Edition. The Meta developer kit includes see-through augmented reality glasses, a depth camera and a software developer’s kit, which includes sample applications and documentation. Meta works with Unity3D, the same graphics rendering engine supported by Oculus Rift, allowing users to pick up and manipulate their own 3D digital objects.
In the web 2.0 era, as more and more millennials acquire the tools of participatory culture and new media literacy, some of this cohort are redirecting their one-time leisure-based activities into acts of community-based, grassroots social activism. Recognizing the power of the crowd to create a tipping point in brand affiliation, big media marketers, Silicon Valley start-ups, and members of the Madison Avenue advertising community, are jumping on board these crowdsourcing activities to support their respective industries. In other words, many of the social goals of grassroots revolutionaries are being realigned to serve the commercial goals of brand marketers.
A look back at our workshop led by game designer Nick Fortugno.
Hacks Attends Games For Change Fest
Back in June we produced a couple of workshops at the Games For Change Festival in NYC led by the irrepressible Nick Fortugno, a game designer at Playmatics.
Nick gave an overview of game mechanics and game design and then challenged the filmmakers attending the workshop to create their own game prototypes using analogue tools like paper, dice and packs of cards. Lots of lightbulbs went off as everyone realized – the hard way - how games tell stories very differently to films and how hard it is to create a good game. Nick tried to make everyone feel better as they tried to explain the rules of the games they had created in just one hour: "Your first game prototypes will suck. But that's ok."
Check out the above video to see how the workshops went.
"Stemville" a game created by STEM challenge winner, Nicolas Badila (Middle School). It is easier than you might think for kids to make their own video games. Gamestar Mechanic is a great web based place for younger children to start.
When kids design their own video games, they are engaged in “learning-by-making.” Project based learning is a constructive experience. It is active rather than passive. It involves creation rather than consumption.
Coding, video game making, and interactive expression will be central to education’s future–not only because these activities encourage the STEM (science, technology, engineering, math) skills involved in digital content creation, but also because game creation nurtures the kind of humanistic personal skills that we expect from successful contributors to society.
One 2011 study showed significantly increased deep learning and intrinsic motivation when kids made their own games. Another 2009 study showed that when kids created their own game based quiz questions, they demonstrated increased content retention and better performance on standardized tests. A 2010 study “found evidence to indicate that the game-authoring activity stimulated higher order thinking skills.“
Explore the largest community of artists, bands, podcasters and creators of music & audio
An Arts Monday interview with Jeff Gomez, CEO of Starlight Runner Entertainment, is the world’s leading expert at expanding entertainment properties, premium brands, and socio-political themes into highly successful transmedia narratives and international campaigns.
Disney's Interactive unit has racked up losses of $1.41 billion since it was formed in 2008. Now, it is pinning its hopes on a $100 million videogame/toy line called 'Infinity' that features any and all of the company's cast of characters.
The cost of making Disney Infinity game and toys is reportedly $100 million, The Wall Street Journal reports, citing "people close to the company."
According to the publication, Disney passed on developing Star Wars titles and canned development on an Iron Man game scheduled for release this year to focus resources on Disney Infinity.
The game, developed by Avalanche Software, draws characters from Disney and Pixar properties. The Toy Box mode allows players to create their own adventuresin a free-form sandbox world. The game is also tied to a line of collectible toys and play sets that enable in-game features when placed on a wireless sensor. It is similar to Activision Blizzard's Skylanders franchise, which has earned the company more than $1.5 billion in revenue since launching in 2011.
Disney CEO Bob Iger told Wall Street analysts in February that if Disney Infinity is a success "it bodes very well for the bottom line" of Disney Interactive, according to The Wall Street Journal, adding if it doesn't do well "the opposite will be the case."
Revealed in January, Disney Infinity is set for release on Aug. 18 for PlayStation 3, Xbox 360, Wii, Wii U and Nintendo 3DS. Disney Infinity's characters would "exist and interact in one game across" platforms. Disney Infinity was originally slated for a release in June; however, a two-month delay was reportedly requested by retailers.
Through two new mobile and tablet apps, Disney Infinity players will be able to stay connected to their characters. Disney Infinity: Action! lets players interact with their characters and is free to download as of Aug. 15. Disney Infinity: Toy Box is an extended version of the console-based mode and will be released at a later date.
OFFF is an entity in continuous transformation, alive and evolutionary. More than a decade ago, it was born as a post-digital culture festival; a meeting place to host contemporary creation through an in depth programme of conferences, workshops and performances by the most relevant artists of our time.
Filmmaker and experience designer Lance Weiler explains how he collaborates with his audiences and builds experiences where they can be the author. Weiler di...
Filmmaker and experience designer Lance Weiler explains how he collaborates with his audiences and builds experiences where they can be the author. Weiler discusses Laika's Adventures, an interactive hero's journey that teaches school children digital literacy.
QR Art Lab. Una plataforma para la promoción del arte, la tecnología y la solidaridad
'QR Art Lab' es el nuevo proyecto de Cinefilia, organizadores del Festival de Cine Solidario de Guadalajara. Se trata de una iniciativa que pretende potenciar la creacion de obras de arte partiendo de codigos QR.
My first tangible encounter with a transmedia franchise came on my sixth birthday.
Mining an IP for all of its potential pays off down the line, and it is the most valuable reason to create ancillary content. Comics, novels, books, and so on aren’t where the money comes from, and they shouldn’t be judged by that value. They are conceptual spark plugs that will ignite later as the franchise matures. The costs attributed to these projects should be viewed as intelligent, inexpensive R&D.
Abstract: This article aims to analyze the transmedia narratives and the levels of involvement with their audience of two different television series. In the Spanish and British markets, TV shows like El Barco (2011, present) or Skins (2007-2011) show a particular transmedia narrative and audience interaction with the fictional plot. Following the contributions to the field of three authors (Beeson, 2005; Davidson 2008; Scolari, 2009), this paper proposes a methodology for analysing these two transmedia narratives and audience involvement with them along four vectors: 1) The relationship between story and medium, 2) Narrative aspects (setting, characters, theme and plot), 3) Intertextuality, and 4) Distribution and accessibility to the audience. Using this methodology, this article gives an overview of two of the most popular television fictions with transmedia narratives in the British and Spanish markets. The analysis of these two markets shows the encouraging future for transmedia narratives in the current television industry, while concluding that the effectiveness of the expansion of these fictional universes appears when finding and fulfilling their audiences’ hopes of engagement.
When considering mobile as platform for transmedia storytelling, it's useful to imagine it as a window into the imagination. The mobile device provides an opportunity to reinterpret the real world and make the mundane part of a storyworld and vic...
The Guardian The future of behaviour: concepts and manners for the 21st century The Guardian Ideas and technologies are changing the world.
Ideas and technologies are changing the world. As they develop we experience new emotions, perform new tasks and relate to the world, our friends and colleagues in unfamilar ways. Here are some of worlds and terms that may helps us navigate through the ever-changing newness.
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