Simon Staffans: 5 Transmedia myths debunked - MIPBlogMIPBlog. July 9, 2012 Freshly back from cross-media fest The Pixel Lab, MediaCity Finland's Staffans decided to set the transmedia record straight By Simon Staffans As with any new trend, a lot of falsehoods are banded about on the nature and potential of cross-media storytelling.
So I thought it was about time to debunk some transmedia myths. Ready? 1. Actually, no. 2. Actually, no. 3. Actually, no. 4. Actually, no. 5. Actually, no. Are You Ready For the Transmedia Revolution? Part one of two-part series on transmedia and the changing landscape of media, including the changing role of online video.
Transmedia has become one of the hottest buzzwords in the entertainment and advertising world, gradually reshaping the way we engage with stories of all kinds. Once a collection of siloed channels with their own unique agendas, media formats like paper books, DVD movies, websites, and online video are now evolving and blending together, with end users increasingly making less distinction between the media types and platforms that are now woven into our daily media routine. This fundamental shift in consumption has given rise to the idea of transmedia: stories told and delivered in a platform-agnostic world, blending story elements seamlessly between various engagement points.
Engagement-driven Narrative Design (or How to Build Discovery and Advocacy into your Transmedia Storytelling) The first diagram in this post presents a virtuous circle for an interactive storyworld that binds the story to social discovery and advocacy.
The questions that the narrative designer or transmedia storyteller asks herself are: What social actions and conversations do I want to stimulate? How do I want to engage the audience to produce these social actions? What storyworld knowledge will they need to engage in this way? Which characters/locations/things hold this knowledge and how/when will it be revealed?
I’ll now explain how I’ve arrived at this process.. The two key enablers to a successful venture today are discovery and advocacy. Transmedia Storytelling and Content Marketing. Transmedia: Entertainment reimagined. This article was taken from the August issue of Wired magazine.
Be the first to read Wired's articles in print before they're posted online, and get your hands on loads of additional content by subscribing online Esther Robinson got off the R train in Astoria, Queens, and started walking to the American Museum of the Moving Image. It was a warm July evening in 2007 and Robinson, then 37 years old and a filmmaker, had come with a friend to see a movie, Head Trauma. As they approached the cinema, she noticed that the payphones were ringing -- all four of them. "You forget payphones exist," recalls Robinson. The film was about a drifter who inherits his mother's house and starts to lose his mind. Unwittingly, she had just participated in an emerging form of mainstream entertainment. This is transmedia storytelling. The trend is already reconfiguring the industry, affecting everything from how stories are made, down to titles on business cards. Core principles of transmedia storytelling.
Transmedia storytelling. Transmedia Planning – Faris Yakob. Brian (founder of Adcenter‘s rm116.com blog) and I were chatting about doing some industry interviews and posting them on the blog so here is the first one.
Haven’t figured out how often they will come out, maybe bi-weekly? There’s been a lot of discussion around the blog circuit about transmedia planning stemming from the book Convergence Culture by Henry Jenkins. Faris Yakob from Naked Communications in London first wrote a post on transmedia on his blog. Check it out here. To dive deeper into the subject, Jason from Leo Burnett Toronto wrote a stunning piece, check it out here.
New Media Age. Transmedia is about more than just running content across multiple platforms; it involves engaging an audience in a story wherever they happen to be coming to it from what is transmedia?
A fusion of real life and fictionTells bespoke parts of the same story on multiple platforms and through live eventsAccess to the story can be from any platform at any timeNeeds to have an element of social benefitCloses the feedback loop between storyteller/brand and audienceA community creates and extends the story beyond the control of a single creator With half a million game downloads attracting 4,000 dedicated players in 165 countries and widespread media attention, Conspiracy For Good far exceeded the targets of its sponsor Nokia. Devised to introduce Nokia’s service platform Ovi, it’s an audience participatory entertainment unfolding online across interactive theatre, live event and mobile app.
Recognising transmedia Gomez agrees. Brand involvement Cross-over medium. Transmedia and the Art of Brand Storytelling. Part two of two-part series on transmedia and the changing landscape of media, including the evolving role of online video.
You can read part one here. In my previous post, Are You Ready for the Transmedia Revolution? , we looked at the foundational elements of transmedia, a communication strategy that is quickly becoming the standard for storytellers of every kind. As we discussed, with transmedia’s multi-platform outreach approach, people can engage with your story on a deeper level than any single platform allows, opening the door to a more immersive, collaborative experience. That’s because transmedia takes advantage of the way we live and communicate now, crossing freely from one conversational medium to the next, engaging and sharing in different ways within the daily flow of our digital lives. With a thoughtfully architected transmedia experience, we’re no longer forced to leave our favorite stories behind when moving between devices, screens or locations.
Telling Your Brand Story.