Transcript
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Presentation to

Ubiquitous Media StudioPalo Alto, California

Robert PrattenFounder, TransmediaStoryteller.com

13th October 2010

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About me

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…and in the recent past…

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Current project: Lowlifes.tv

One story, three perspectives.Told over three platforms: novella, web series, blog.

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This presentation

• Intro to transmedia: basic concepts– what is transmedia storytelling? – types of transmedia storytelling– why is "transmedia“ so popular?

• Design principals for transmedia experiences – deciding what your goals are– designing to achieve the goals– how might we employ AR in an transmedia experience?

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Part 1: Introduction to Transmedia

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Transmedia storytelling

…is telling a story across multiple media and, although it doesn’t always happen, with a degree of audience participation, interaction or collaboration…

...with each additional media heightening the audience’ understanding, enjoyment and affection for the story.

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Transmedia storytelling

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Story and storyworld

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Types of Transmedia

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Franchise transmediamultiple platforms create a collection of individual experiences

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Portmanteau transmediamultiple platforms contribute to a single experience

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Why Transmedia

• Millennials/GenY expect it:– simultaneous multi-platform consumption of media– multiple media

• More audience touchpoints to aid discovery in world exploding with content

• Increased penetration of sales to existing audience• Consumers actively avoiding ads: therefore brands

seeking truly engaging experiences• Exciting and fun: oceans of uncharted water to explore

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Part 2: Designing your Experience

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Anatomy of a transmedia project

• The Story– genre, characters, location, time, plot etc.

• The Experience – timing (commercial, context, practical)– platforms (media, technology, physical)– location (online, offline, geographical)– agency (interactive, affecting, collaborative)

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Transmedia projects

Story Gaming

Participation

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Storytelling Cube (Raph Koster & Rich Vogel)

• Control: How much freedom does the audience have to create their own experience and how much control will you have as the author?

• Impact: What long-lasting impact will the audience have on the evolution of the experience?

• Context: How much of the experience is based in a fictional world and how much exists in “real life”?

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Transmedia Radar Diagram

Story (strength, depth & authorial

control)

Gaming (goals, puzzles, challenges, trophies)

Participation (contribute, change, co-create)

Real-world (pervasive, built around fact)

Participation = ability of audience to change or contribute to the story-experienceGaming = audience has goal, use of puzzles, game mechanics (trophies, levels, leader boards etc.)

Story = importance of narrative, depth of world & degree of authorial controlReal-world = extent to which story-experience pervades real locations & times

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Transmedia Project Development

Story

Experience Audience

Platforms BusinessModel

Execution

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Transmedia Project Development

Story

Experience Audience

Platforms BusinessModel

ExecutionAR fits here

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Part 3: Use of Augmented Reality

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Approaching Augmented Reality

• How might the story be best served with this platform?

• What experiences can I create?• What content can I deliver?• How does it fit within the storyworld?• What business model opportunities are there?• What audiences will be excluded/ included?

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Augmented reality – when, where, how?

HomeHome Away

Tablet

Tablet

Public screen?

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AR

• Call-to-action– AR marker (offline to online)

• Narrative (video, animation, audio)– Add interactivity to non-interactive media– Provide contextual story

• Exploration– Provide contextual content

• location-based content – Provide audience with tools

• gaming• role-play

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Lowlifes.tv

• Lowlifes.tv is a book, video series and blog• Authorial control is the dominant feature• No game or puzzles even though there’s some

mystery in the storytelling and a few content “clues”

• Experience has strong link to San Francisco with exploratory content coming from real-world sources such as wikipedia, SF crime map etc.

• There’s a forum to influence future stories and the development of the character but this experience is “on rails”

• AR & mobile used to provide additional narrative content (sub-plot in video, audio, images) that enriches ownership of paid content (book & ebook) and exploratory content (wikipedia, coalition on homelessness in SF)

Story

GamingParticipation

Real-world

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Infection: AR mobile game

• Location-based mobile game in which AR is used to identify infected areas of a small neighborhood. Teams complete to “clean-up the ‘hood” or “infect the ‘hood“within a 60 min time window: point mobile camera, see infection, zap infection, get points or see no infection, create infection, get points.

• Story is used to establish the premise for the game but from then on players make their own entertainment choosing how to progress through the streets and extent of role-play

• Players have no ability to change the rules of the game or contribute content

Story

GamingParticipation

Real-world

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CyberKiller

• Comic book series and feature film provides strong narrative thread that ties together all aspects of content.

• Game mechanics used to encourage collection of content and to establish “super fan” bragging rights plus puzzles and PvP used to test knowledge of storyworld to win prizes

• Some participation in the storyworld in that fans allowed to submit fan fiction and upload artwork but is mostly outside canon

• Opportunity for real-world LARP at meet-ups which again feeds into game

• AR used to provide community with fun and role-play tools - facial-recognition overlays cybernetic endoskeleton on real faces

Story

GamingParticipation

Real-world

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Lowlifes.tv - AR marker at end of chapter reveals clue that creates suspense

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AreYouAwake.tv

http://social.areyouawake.tv

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Transmedia Storyteller

Robert Prattentwitter.com/zenfilms

www.transmediastoryteller.com


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