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Very cool post: Creating Games for Journalism - Learning - Source: An OpenNews project

Very cool post: Creating Games for Journalism - Learning - Source: An OpenNews project | Личное | Scoop.it
Source - Journalism Code, Context & Community

 

'Video Games Let Readers “Play” a Story

 

Games are mock realities that, at their best, can make players feel an emotion more powerfully than any other medium. You are the on-screen actor, and you control the game’s plot through your actions. Having control means you’re responsible, within obvious bounds, for what happens in the game, so achievements, failures, consequences, and the emotions those come with, belong to you.

 

This feeling of owning consequences is what’s at play in a game called Sweatshop. It simulates the life of a sweatshop manager, and in the face of the daily pressures, the player’s moral compass begins to lose its bearing. Betsy Morais wrote, in her New Yorker piece about playing Sweatshop, that “as I continued to play, I began to skip past the interjections of a child worker who popped up at the bottom of the screen to plead for decent treatment. …The longer I played, the more each moving part—workers, children, hats—became abstracted into the image of one big machine.”...'


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Great Post on Transmedia in NZ. Opening the transmedia toolbox | The Big Idea | Te Aria Nui

Great Post on Transmedia in NZ. Opening the transmedia toolbox | The Big Idea | Te Aria Nui | Личное | Scoop.it

Anna Jackson reports back with tips and tools from Jeff Gomez and other local and international producers at a Transmedia Toolbox event at Unitec in Auckland....

 

'Transmedia on the international stage

Jeff Gomez, CEO of Starlight Runner Entertainment has spearheaded international transmedia campaigns for superbrands such as Mattel, Walt Disney Company, Coca-Cola, Sony Pictures Entertainment (the list goes on!). Which all sounds terribly impressive, but what relevance does the world of superheroes and big budget franchises have to low-budget New Zealand? In a word, story; the essential media element that transcends platforms, budget and location. Gomez's tales of Hollywood and Madison Ave are captivating, but his underlying message is that without a fully realised, expansive storyworld and appealing characters no amount of money will make a project work. And despite working with 'evil' superbrands like Coca-Cola, Gomez has a lot to say about values, integrity and the power of media to affect social change.

Special guests from Australia, Nathan Mayfield of Hoodlum & Alex Alexander of FourTwelve also come from a very different media environment, but demonstrate that it's possible to crack the global market with entrepreneurial skills, creative talent and determination. Having a larger population (and therefore market), two strong public service broadcasters and both regional and national screen funding agencies with strong innovation policies, in my opinion has made life easier for Australian producers. However, it has still taken a lot of persistence for transmedia producers across the Tasman to build a multiplatform culture, but now companies like Hoodlum and FourTwelve are in demand internationally....'


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Transmedia NZ Interview with Jeff Gomez: Creating blockbuster worlds. The Big Idea | Te Aria Nui

Transmedia NZ Interview with Jeff Gomez: Creating blockbuster worlds. The Big Idea | Te Aria Nui | Личное | Scoop.it

'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?...

 

Is there a difference in your approach to the extension of existing story worlds and the development of new transmedia properties?

 

They're different beasts. With a previously existing story world, it’s Starlight Runner's responsibility to learn everything about the narrative, the storyteller, the various stakeholders (such as the movie studio and producers), and the culture of the team that's bringing the property to market. Only then can we convince everyone that we fundamentally understand the story world and can be trusted with enriching it or refining it so that it can be extended properly across different media. That's a lot of analysis, creativity and diplomacy before the real fun starts!

 

If the property is new, and can be developed as native transmedia, we can get to the fun a lot faster! That is, if the visionary has an understanding of transmedia principles, and is willing to have a group like ours come in and produce it with him or her. We've come across a few creators who are very singular in their creative process and can't wrap their minds around a team helping to vastly expand their story world. That's why we've developed such a thorough process for getting to know the visionary as much as the work. You have to trust your transmedia producer!...'


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