Many innovations in the creative industries owe their roots and inspiration to the gaming world, from audience engagement and storytelling techniques to distribution methods and cross-platform integration. This session examines some of the critical questions facing those working in the gaming industry as large companies and indie developers grapple with the challenging evolution of the market brought on by new networked technologies, audience practices, and business models. How are game developers embracing or rejecting the unauthorized play of games online, and how has piracy evolved as a discourse in the gaming sector? How do creators strategize around the widespread circulation of games through automated propagation (using friend invitations for social and “free to play” games) — or grassroots spreading (for unexpectedly popular titles like Minecraft) — of information through social network sites? How badly are new architectures (Steam, Xbox Live Arcade, PSN Network) clashing with old traditions (game stores, $60 game discs)? And how are business models in the gaming industry shifting as we see massive success simultaneously from high-budget technology like Kinect and low-budget distribution like the Humble Bundle?
Panelists: T.L. Taylor, Associate Professor of Comparative Media Studies, MIT Christopher Weaver, founder of Bethesda Softworks and industry liaison, MITGameLab Ed Fries, architect of Microsoft’s video game business and co-founder of the Xbox project Walter Somol, head of tech community outreach, Microsoft New England Research and Development Center
Moderator: Futures of Entertainment Fellow and games producer Alec Austin
With the constant barrage of new technologies, platforms, and services vying for attention, media producers and marketers are frequently lost among the potential places–and ways–of engaging with their audiences. Before they have ever truly figured out one technology, they’ve already moved to another, because of an intense desire to be “first.” As such, companies and media properties have launched–and then abandoned–their virtual world presence, their mobile app, their social game, and their QR code and are now exploring “social TV,” “Twitter parties,” Pinterest pages, augmented reality, and location-based initiatives. This leaves the web littered with old blogs, microsites, and profiles and companies blaming technologies when, too often, it’s been the lack of strategy that led to no traction. How do storytellers and communicators build a framework to more intelligently choose technologies based on how a platform aids their story and their audience, rather than a “gee whiz…get me one of those” approach? How does–or should–listening to the audience factor into this process? And what role, or responsibility, do technology creators have to help with this integration process? Drawing on examples contemporary and historical, this panel looks at how and when to take risks with new platforms, the difference between “innovative failure” and “failure to innovate,” and the deeper patterns of engagement that help us make sense of how new platforms and behaviors connect to longstanding means of engagement.
A One-on-One Conversation with Brain Pickings’ Maria Popova and Undercurrent’s Joshua Green We live in an environment where the power of circulation is no longer solely–arguably, even primarily–in the hands of media companies. However, if that means we all now play a role as curator and circulator of content, what responsibilities does that bring with it? How is curation becoming an important aspect of the online profile of professional curators? And, for all of us who participate in social networking sites or who forward content to family and friends via email, what are our obligations to both the creators of that content and to the audiences with whom we share it? If we possess the great power to spread content, what are the great responsibilities that come along with it?
Media properties have long measured audiences with Nielsen ratings, circulation numbers, website traffic and a range of other methods that transform the people who engage with content into that aggregate mass: the audience. Meanwhile, marketing logic has long been governed by survey research, focus groups, and audience segmentation. And, today, executives are being urged to do all they can to make sense of the “big data” at their fingertips. However, all these methods of understanding audiences–while they can be helpful–too often distance companies from the actual human beings they are trying to understand. How do organizations make the best use of the myriad ways they now have to listen to, understand, and serve their audiences–beyond frameworks that aim to “monitor, “surveil,” and “quantify” those audiences as statistics rather than people? What new understandings are unearthed when companies listen to their audiences, and the culture around them, beyond just what people are saying about the organization itself? What advantages do companies find in embracing ethnographic research, in thinking about an organization’s content and communications from the audience’s perspective, and in thinking of “social media” not just as a new way to market content but a new and particularly useful channel for communicating, collaborating and conducting business?
Panelists: Lara Lee, Chief Innovation and Operating Officer, Continuum Grant McCracken, author, Culturematic, Chief Culture Officer Carol Sanford, author, The Responsible Business Emily Yellin, author, Your Call Is (Not That) Important to Us Moderator: Sam Ford, Director of Digital Strategy, Peppercomm
Throughout the history of mass media, sports programming has been an innovator. In today’s era of online circulation, transmedia storytelling, and 24/7 access to engaging with sports stars, teams, and fellow fans, sports franchises could be argued as the most immersive of storyworlds–with drama playing out in real-time, and the “narrative world” being our own. What is driving innovation in how sports tell their stories, and get their fans more engaged than ever, through multiple media platforms? How does operating as a media franchise in our everyday world set sports apart from entertainment properties? How are sports empowered by being “real,” and what constraints does that place on what they can do as well? How are talent engaged to be part of the storytelling? And what innovations are seen as sports are extended wholly into the fictional realm, whether through licensed extensions or various forms of “sports entertainment”?
Panelists: Abe Stein, researcher at Singapore-MIT GAMBIT Game Lab; graduate student, Comparative Media Studies, MIT; columnist, Kill Screen Peter Stringer, Senior Director of Interactive Media, Boston Celtics Jena Janovy, Enterprise Editor, ESPN.com Jamie Scheu, associate content director, Hill Holliday
Moderator: Alex Chisholm, transmedia producer and Co-Founder and Executive Director, Learning Games Network
A discussion with musician, songwriter, and producer T Bone Burnett;Henry Jenkins, Provost’s Professor of Communication, Journalism, Cinematic Arts, and Education at the University of Southern California; and Jonathan Taplin, Director of the Annenberg Innovation Lab at the University of Southern California. As the recent legislative battles have demonstrated, it’s becoming painfully clear that our conception of copyright is ill-prepared for regulating and making sense of a world where media content is fluidly circulated by most of a society. However, in an effort make content free to spread in the ways audiences find them relevant, what is the appropriate balance to ensure that the rights of content creators are preserved and that the incentive to develop intellectual property remains? Rather than continue a debate in which audiences and critics attack copyright while media companies cling to them, how might we cut through current tensions to collaboratively imagine what a new sense of copyright, appropriate for an era of “spreadable media,” might look like?
Around the world, activists, educators, and nonprofit organizations are discovering new power through their capacity to appropriate, remix, and recirculate elements of popular culture. In some cases, these groups are forging formal partnerships with media producers. In other cases, they are deploying what some have called “cultural acupuncture,” making unauthorized extensions which tap into the public’s interest in entertainment properties to direct their attention to other social problems. Some of these transmedia campaigns — Occupy, for example — are criticized for not having a unified message, yet it is their capacity to take many forms and to connect together diverse communities which have made these efforts so effective at provoking conversation and inspiring participation. And, as content spreads across cultural borders, these activists and producers are confronting new kinds of critiques —such as the heated debates surrounding the rapid spread of the KONY 2012 video. Are new means of creating and circulating content empowering citizens, creating new forms of engagement, or do they trivialize the political process, resulting in so-called “slactivism”? What are these producers and circulators learning from media companies and marketers, and vice versa? What new kinds of organizations and networks are deploying this tactics to gain the attention of young consumer-citizens? And, for all of us, what do we need to consider as we receive, engage with, and consider sharing content created by these individuals and groups?