There’s no denying it. The audience has moved on. It’s no longer a question of whether a show should be developed for second screen action, for interactivity and for a socially connected, proactive audience. It doesn’t matter whether anything in television is developed with this in mind or not, it’s happening anyway.
The Indie Filmmaker's Guide to Cross-Media I: Storytelling in the 21st Century was taking place Feb. 13th 2012 in HAU 3. Moderated by cross-media expert and head of Power to the Pixel Liz Rosenthal, the conference was held by three speakers; Michel Reilhac, general director of Arte France cinema and pioneer in trans-medial film productions, Martin Ericsson, the crazy Swede at the origin of cross-media production company Bardo AB, and Caspar Sonnen, New Media Coordinator @IDFA & Curator of @DocLab.
This post I’ll keep short and to the point. It’s my thoughts about how companies can benefit from utilizing transmedia storytelling; not only when it comes to marketing a product or a service, but also when it comes to the company itself.
This time we talked to Robert Pratten, whom a lot of people know as Transmedia Storyteller or for his company Zenfilms, which he founded after a successful career in marketing. Last year he wrote one of the first books on “Getting Started in Transmedia Storytelling”, (Kindle or free version ) which I can highly recommend.
I'm not one for lists, nor do I pay too much attention to trends (trends are fleeting), but I do see a whole lot of shifts in the work I do. You know, seismic ones. So I thought I'd share a few that I think are critical to business, and those shaping the way we leverage media and technology for the better.
In this special episode of StoryForward, co-host Steve Peters talks with Joe Lidster, a television writer best known for his work on Torchwood, The Sarah Jane Adventures and most recently, the online story content for the BBC series Sherlock, starring Benedict Cumberbatch and Martin Freeman. They talk about the unique process behind the TV show, which, in true transmedia storytelling fashion, simultaneously spans your television screen, multiple websites and more.
This edition of StoryCentered features the second part of Hurst's interview with story architect, LANCE WEILER (http://www.lanceweiler.com), described by Wired Magazine as "one of 25 people helping to re-invent entertainment and change the face of Hollywood," and by Businessweek as "one of the 18 who changed Hollywood."
Creative IP and Designing Play – Matt explains his approach in developing experiential stories looking at a range of successful game, film and book examples as well as delving into the true nature of interaction.
#Transmedia Book Excerpt - "I’m a Process Guy" Over the next couple of weeks, I’ll be pulling select excerpts from our upcoming Macro-Narrative Transmedia practice guide. This particular excerpt, “I’m...
It’s been sort of fortuitous that this week in Transmedia Los Angeles it’s been all about Game Mechanics. I was able to attend three informative events, and compiled helpful information that I feel can come in handy to all of those interested in incorporating a gaming aspect into their Transmedia projects. Below I recount my findings.
Last week I wrote a post about story design in games and that relationship to transmedia. My argument was essentially that while there is certainly a place for the kinds of games that want you to completely construct your own story, like Skyrim (or perhaps more to the point, Minecraft), I think there will always also be a place for more structured or linear narratives like those found in games like Dragon Age.
Today’s master is the none other than Christy Marx. Christy is a lifelong lover of the written word, her works have spanned media formats and franchises ranging from “The Twilight Zone” and “Babylon 5″ to ”Elfquest”, “Spider-man”and “The Lord of the Rings”. She is a regular staple of the IGDA’s Game Writer’s Special Interest Group and speaker at UBM’s Game Developer’s Coferences. She is currently exploring the edge of storytelling in emerging media as ”Narrative Designer” at Zynga.
On many occasions a full-fledged transmedia project cannot be successfully developed and implemented – at least not one that would realize the full potential of transmedia storytelling – without there being people representing all these different areas of expertise present from the very beginning.
As part of Björk’s Biophilia project, Björk has released a music album, an app album, and a traditional music video. I have been anxiously awaiting the arrival of the live tour, the culmination of the project, and was lucky enough to see her performance Monday night, as well as the educational exhibit at the New York Hall of Science.