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.
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.
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?
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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.
15 Dec, 2009 – 12 comments click the image to see the full size slide Henry Jenkins recently published his Seven Core Concepts of Transmedia Storytelling from his talk at the Futures of Entertainment conference. Read part one and part two . I’ve simply paraphrased or directly lifted a phrase from Henry to make the above graphic (consider it a Jenkins Reader’s Digest post, but do read the full posts). You can also view Henry’s keynote here .
This lens on Transmedia Planning is build upon my interest in advertising and marketing communications. In recent months, there have been a lot of debate throughout the web about transmedia planning - whether it really is the golden path for the future of marketing communications or merely another tale of the emperors new clothes. There are more than a lot of interesting stuff about this topic "out there", however it's a bit complicated to grasp an overview of all the wisely spoken(written) words.
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.
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 fiction Tells bespoke parts of the same story on multiple platforms and through live events Access to the story can be from any platform at any time Needs to have an element of social benefit Closes the feedback loop between storyteller/brand and audience A 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.
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.