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Transmedia storytelling

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How I Stopped Worrying and Learned to Love Transmedia...

Text of Transmedia storytelling

  • 1. transmediastorytellingHow I Stopped Worrying andLearned to Love the Benjamin [email protected]

2. 1 3. the need todefine transmediais strong 4. A globaldefinitionbyHenry Jenkins 5. A visualdefinitionbyRobert Pratten 6. an institutionaldefinitionneeded for :! status recognition grants allocation lobbying efforts reassurance A Transmedia Narrative project or franchisemust consist of three (or more)narrative storylines existing within thesame fictional universe on any of thefollowing platforms: Film, Television, ShortFilm, Broadband, Publishing, Comics,Animation, Mobile, Special Venues, DVD/Blu-ray/CD-ROM, Narrative Commercial andMarketing rollouts, and other technologiesthat may or may not currently exist. Thesenarrative extensions are NOT the sameas repurposing material from oneplatform to be cut or repurposed to differentplatforms. 7. an institutionaldefinitionneeded for :! status recognition grants allocation lobbying efforts reassuranceTo be eligible to the CNCnew media fund, aproject must:! be an original concept withcontent (linear or interactive)specifically produced for new media! be destined to several media,including cinema and/ortelevision and must offer specificnarrative developments oneach media!create a universe and include aninteractive and/orparticipatory dimension! be conceived and written in French 8. but who reallygives a f***? 9. focus on a good story...give it all the formsit needs and deserves...make it engaging and immersive...itll be good transmedia. 10. 2 11. a craft rooted inour cultural DNA 12. the non-interactive entertainmentof the 20th centuryis the exception, not the norm 13. Before non-interactive forms ofentertainment came along allentertainment was interactive:theatre, music, sport the performersand audience were there together,and even a respectfully silentaudience exerted a powerful shapingpresence on the unfolding ofwhatever drama they were there for.!We didnt need a specialword for interactivity in thesame way that we dont(yet) need a special word forpeople with only one head.- Douglas Adamsin How to Stop Worrying andLearn to Love the Internet (1999) 14. new worldsto conquerdigital or not... 15. new formatsenriching and transcendingtraditional media(not replacing them) 16. new formatswebdocumentariesrecurring features: multiple-choices interfaces multimedia content non-linear narrative structuremain challenges: going non-linear without sacrificingnarration keeping a balance between interactivityand authors intention making the interaction the storyfrequent mistakes: encyclopedic documentary narrative maze non-contributing interactivity ergonomical nightmareHollow (Elaine McMillion) | Interactive documentaryGaza Sderot (ARTE) | Webdocumentary | Documentary 17. new formatsserious gamesrecurring features: serious intentions combined withplayful mechanisms classic gaming features : levels, rules,rewards...main challenges: not letting the information delivery ruinthe gaming experience not letting the gaming experience hinderthe information delivery being really fun and challenging to playfrequent mistakes: overly simplistic game design confusion between gaming andgamification forgetting to tell a storyType:RIder (ARTE) | Mobile & social game | Interactive installationSPENT | Serious game 18. new formatsfictional universesrecurring features: TV or cinema-centered long-lasting experiences special content for hardcore fans strong ties with marketing campaignsmain challenges: preserving some distinction betweentransmedia and marketing spending more time for the 1% ofhardcore fans than for the other 99% keeping the whole experience coherentfrequent mistakes: lack of resources for developmentsother than the main medium some parts of the experience dontstand aloneDefiance (SyFy) | TV Show | MMORPGThe Spiral (ARTE) | TV Show | ARG 19. new formatsalternate reality gamesrecurring features: thin line between reality and fiction players embodying fictional characters,much as in role playing results of the ARG shaping theunfolding of the transmedia experiencemain challenges: dealing with the logistics keeping the players community coherentand interactive drawing links with the rest of theexperiencefrequent mistakes: lack of social features forgetting rewards for a verydemanding activityAlt-Minds (ARTE) | Mobile game | ARG | WebseriesWhy So Serious | ARG 20. new formatsparticipative experiencesrecurring features: offering users to co-create the project content also available for non-contributors UGC or contributions shaping thewhole transmedia experiencemain challenges: editorialization of contributions or UGC incentives for participation legal status of UGC contentfrequent mistakes: lack of recognition or rewards forparticipants unclear impact of participation on theprojectUne Contre-Histoire des Internets (ARTE)Life in a Day (National Geographic & YouTube) | Feature film 21. new formatsdigital publishingrecurring features: offering users to co-create the project content available for non-participants UGC or participation shaping the wholetransmedia experiencemain challenges: editorialization of participations or UGC incentives for participation legal status of UGC contentfrequent mistakes: lack of recognition or rewards forparticipants unclear impact of participation on theprojectMediaEntity | Comics | e-Book | ARG | Role playing | WebseriesCathys Book | Publishing | ARG 22. new formatsand much much more... gamedocs mobile apps e-publishing social games second screen apps long-form articles interactive webseries role-playing on socialnetworks tweetterature and whatever well dowith Google glasses...Fort McMoney (ARTE/ONF) | Gamedoc | DocumentarySnow Fall (New York Times) | Long-form interactive article 23. never bend yourstory to fita predeterminedchoice of media 24. 3 25. the (not so) newrules of storytelling 26. your transmedia experience should be:immersiveinteractivesharablecoherentexpandable 27. 4 28. why botherwith transmedia? 29. obvious returns not so obvious ones... youll learn (hopefully) todelegate and workcollaboratively! youll learn new skills (design,coding, game design,storytelling softwares...)! if necessary, youll be able tomake concessions on onemedium to preserve creativefreedom on another(OK, dont hit me...) youll reach multiple targetaudiences on their media ofchoice!youll build a strongercommunity around your project! youll create a narrativeuniverse you can then expand! youll get new funding andgrant opportunities! youll get an innovative edgeand a pioneer status 30. obvious complications not so obvious ones... youll have to deal with morecomplicated group dynamics! youll faced an unclear andunspecific set of laws andregulations! youll have to reconfigure yourbrain because transmediastorytelling will f*** up yourcreative process and patterns youll most certainly have tocoproduce some aspects of theexperience! youll have to implement moresophisticated projectmanagement techniques! youll have to find new skillssuch as story architects,experience designers...! youll be part of an emergingand competitive market sodemand might run lowsometimes 31. to optimize returns and minimize complications:keep calm andcollaborate By co-producing and co-creating,youll build agrowing ecosystem of giftedprofessionals Youll soon develop manynew skills you never had thepatience or time orresources to learn But still, dont gooverboard and ask everyoneyou meet to join yourproject 32. 5 33. production anddistribution,transmedia-style. 34. key playersBroadcasters / MediaARTE (France)France Televisions (France)NFB / ONF (Canada)National Geographic (US)HBO (US)...ProducersStarlight Runner (US)Mirada Studios (US)MediaStorm (US)Upian (France)Lexis Numerique (France)Submarine (NL)...New media funds & grantsCNC (France)SCAM, SACD, SACEM (France)Regional funds (France)Lagardre Foundation (France)Europe Creative (EU)Doha Film Institute (Qatar)Tribeca New Media Fund (US)... 35. classic funding new fundingGet some media involvedApply for funding and grantsFind private funders (maybe)Look for the widest distributionEnter some festivalsBuild a communityGet involved with your audienceLaunch a crowdfunding campaignor pre-salesBe grateful and send some rewardsboth are not mutually exclusive! 36. DIY distributionWhat for ?Take full creative controlStay independentGenerate (possibly) more revenueHow?Use existing distribution solutions(iTunes, Vodeo, Vimeo, Kindle Direct Publishing...)Create your own (VHX, custom code)Careful...Build an audience firstConsider the higher risk/reward ratioRun your numbersGet a plan B 37. Festivals & eventsElsewhere:SXSW (Austin, US)Power to Pixel (London, UK)Sheffield DocFest (UK)IDFA DocLab (Amsterdam, NL)Tribeca Storyscapes (NYC, US)Sundance New Frontier (Utah, US)...In France:Sunny Side of the Doc (La Rochelle)Cross Video Days (Paris)Web Program Festival (La Rochelle)FIGRA (Le Touquet)Visa pour lImage (Perpignan)FIPA (Biarritz)... 38. 6 39. your very owntransmediatoolbox! 40. Non-linear writing toolsTwineOpen-sourceNon-linear storytellingInteractive scenarioInstant publishingAnd also:ScrivenerCeltxScapple... 41. Interactive storytelling toolsDjehoutiTo create without code any kind ofinteractive experiences(webdoc, interactive videos, mobile apps,websites...)To create storyworldswith complex social andmobile interactionsTo create geolocatedinteractive experiencesAnd also:Klynt, Zeega... (interactive experiences)Shorthand... (long-form articles)ThingLink, Stipple... (interactive photos)Popcorn, Korsakow... (interactive videos)Timeline JS, TikiToki... (timelines), Piktochart... (infographics) 42. News sources & influencersIn France:The Rabbit Hole (transmedia) (webdoc)Le Blog Documentaire (doc & webdoc)The Pixel Hunt (serious game)Transmedia Lab (transmedia)Bigger Than Fiction (transmedia)UK/ (tra

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