Transmedia Next is a training for people who are already experienced media professionels. I applied for a scholarship because you never stop learning and its a big chance to talk with people from all over Europe and with our trainers about transmedia and storytelling. It is organized by Anita Ondine and her team – thank you very much by the way! So yesterday in London, the first day of Transmedia Next (#tnx12) took place and involved all of the participants in a story, a competition and into the wide wide worlds of transmedia storytelling. Patrick Möller: "The first "Transmedia Mobile Gaming" conference was being held this month in Warsaw. I was invited by Voodoodance to speak there about "Transmedia Storytelling" and to show some cases. These are the slides of my talk." Via Simon Staffans, The Digital Rocking Chair Jonathan Marshall is one of the trainers at Transmedia Next #tnx12 in London. He is a pioneer in the field of interactive TV, working with the BBC and many others. He won a BAFTA for his BBC engagement recently. This presentation strengthens the point that we shouldn't lose perspective in creating storyworlds. What Lance Weiler calls "Don't let the world get into your story"(losing your story because you want to many things), Jonathan states for the audiences' perspective. We write and create for the audience - so their experience should come first. Both claim the importance of asking yourself as creator why your story should be told (Need), how you approach it differently (Approach - Romeo and Juliet has been told over and over again. Whats your new angle?), what are the advantages (Benefit) of your story, and if there is anyone else there already (Competition - and if not: why not?). More on our blog about the second and third day of #tnx12 on Friday: http://www.imaginary-friends.de 
Must read! "As thinking has converged around transmedia, it has provided a banner which can be carried by people working across the entertainment industry and thus we can make a stronger push for the kinds of storytelling practices which we would expect to emerge within a networked culture. There have been stories told in multiple media throughout human history. We could argue that the first cave paintings were at least multimedia in the sense that archeologists believe they were used in live performances which might involve sound and gesture. The emergence of digital networks have signaled new potentials to disperse experiences across a range of different media platforms and allow readers to find the scattered pieces and reintegrate them as they pool their knowledge online." The fan art community is one of the most creative and active online. Taking pop culture stories and icons as its starting point, the fan community extends those characters into new adventures, unexpected relationships, bizarre remixes, and even as the source material for beautiful art.... Via siobhan-o-flynn, cynthia jabar 
Games do what art has always done: manipulate technology to tell a story. There isn’t much else to it. So why is story so often left out of the equation, or so brazenly added in as an afterthought?Gamers ignore the story, or give it a pass, because the distraction of the experience is supposed to vindicate the mechanics of the created material. Marcus Fenix isn’t a humanoid steroid clad in armor because the story is about a fight for mankind on an Earth-like planet. The story turned out the way it did because Marcus Fenix is a humanoid steroid clad in armor… or because that’s what Cliff Bleszinski wanted him to be.
But the role of the story in any medium is to provide purpose for the content. A character doesn’t visit Planet X because someone tells him to. He goes because everything up to that point has led to that decision. It’s cause and effect. And you care because Marcus, and Chief, and Shepard are all three-dimensional characters. Or at least they should be. Via Gregg Morris 
The creative minds behind "Welcome to Pine Point" speak out: "How did they make this thing of beauty? In their Transom Manifesto, Paul Shoebridge and Michael Simons (The Goggles) outline their choices, some of them inadvertent, in making a kind of story that hadn’t been made before. If you’re at all interested in new modes of storytelling, we highly recommend their manifesto." 
Arnau Gifreu Castells: "Mixing documentary (non-fiction) and game (fiction) seems a strategy that many interactive documentary producers are considering, because the fact of reality combined with a structure that includes the users and put themselves at the heart of the action, creates a much more hyper and immersed scenario for the interactive documentary and its participants"...
Via The Digital Rocking Chair Ja-Naé Duane, @TheSunQueen, focuses on transmedia for brands on this week's Game Changer. She gives examples of transmedia and explains how every brand can s... Via Simon Staffans 
On a seemingly typical shooting day recently at a stage in El Segundo, a director in a baseball cap was hunched over video monitors, burly grips were moving lights, and the producers were arguing about just what it was they were making.
Via Simon Staffans 
I had the pleasure to interview Lance Weiler, filmmaker and founder of DIY Days and The Workbook Project. Weiler is an innovator in storytelling, transmedia, and co-creation/collaboration. Via Simon Staffans 
"Body of Proof" have actually taken an interesting approach to creating a web series, in that they're creating a storyline to work as a bridge between a two-part episode. In the first part, the medical team on the show faces a mysterious outbreak, and in part two, they will probably resolve it. In between those episodes is "Outbreak" which began rolling out on March 27, and will roll out the fifth episode on April 3, the day of the second broadcast episode. "Outbreak" follows a news reporter who is also trying to figure out what's happening in the city when the virus hits. As of episode 4, no main cast members are involved, though it does appear to use title elements from the series.
Via Gary Hayes "However, the location and its use within the narrative must be considered carefully before including location-dependent elements. The designer needs to consider what happens to the user experience of the narrative if individual users visit at different times of the day, encounter different weather conditions, or a major change in the environment occurs (e.g. a building mentioned in the narrative is demolished)." |
Flip the MediaThe Role of Mobile in Transmedia StorytellingFlip the MediaTransmedia storytelling and marketing are hot topics for entertainment brands, independent content producers, and product and service brands. 
"The Weyland Corporation is currently seeking investors for several classified projects. Visit https://www.WeylandIndustries.com and sign up to learn more about these opportunities today." Via siobhan-o-flynn 
Robert Pratten presented his vision of future storyworlds at EBU TV Summit. Pervasive, persistent, participatory, personalized, connected, inclusive, and cloud-based. Via Sandrine Joly 
"Add humor to make your characters warmer and more human - The best "effect" used in the movie (and something that is drastically missing from the latest Batman trilogy) is a sense of humor. Besides being funny (without being corny) - they make the characters seem more real and human. They actually increase the dram because we naturally care more about people who make us laugh." via @greggvm
A walkthrough of the interface for RIDES, the new transmedia storytelling platform from Fourth Wall Studios. RIDES is a new interactive transmedia viewing pl...
Via Simon Staffans 
[The true oral tellers will likely flinch but it's an interesting educational endeavor.] Via Gregg Morris 
Transmedia Hollywood is a conference, in its third year, which I used to work on. It is a joint venture between UCLA’s producer’s Program Chair Prof. Denise Mann and legendary scholar and now USC professor Henry Jenkins. Via siobhan-o-flynn 
This panel-style blog post was spawned by my recent interest in the game Zombies, Run! As someone who is passionate about the Zombie genre, but not at all passionate about exercise, I was excited to find a fusion of mobile technology, storytelling, and real-world activity that would help gamify my healthy habits. Via Simon Staffans 
Interview with Simon Staffans: "I’ve been telling stories for decades in different forms and on different media, but today, with all technical possibilities to facilitate telling coherent and logically synced stories on different media that engage an audience, to not use transmedia storytelling methods to use these possibilities to their full extent would be… counterproductive. I am also increasingly of the opinion that transmedia storytelling methods can be used for a variety of purposes; brand building, marketing, company profiling, you name it." 
Gaurav Mishra, Asia director of social media at MSLGROUP contextualises storytelling for brands, and how they can share purpose-inspired stories in new ways. Once more: Hero's journey... 
The recently announced changes to the core mythos of the Teenage Mutant Ninja Turtles and the backlash from fans over the ending to Mass Effect 3 have i... But movies, videogames and music are different. We “invest” ourselves greatly in them. Ask any young fan who thrilled to vicariously inhabiting one of the characters in the Hunger Games. Dick Clark once rightly said that music becomes the “soundtrack of our lives.” Movies have always been (and now, too, videogames) the alternative “religions” or mythos that we choose to identify with, and by which we often define and direct how we think about our lives, sometimes to an extent exceeding actual religions or ideologies. What I’m saying is that the “psychic stakes” in this current dispute are a little higher and more vital to our culture than it just being a “consumer complaint” situation. via @simonpulman |
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