The Video Game Revolution: "Eight Myths About Video Games Debunked" by Henry Jenkins
Reality Bytes: Eight Myths About Video Games Debunked Henry Jenkins MIT Professor A large gap exists between the public's perception of video games and what the research actually shows. 1. According to federal crime statistics, the rate of juvenile violent crime in the United States is at a 30-year low. 2. Claims like this are based on the work of researchers who represent one relatively narrow school of research, "media effects." 3. While most American kids do play video games, the center of the video game market has shifted older as the first generation of gamers continues to play into adulthood. 4. Historically, the video game market has been predominantly male. 5. Grossman's model only works if: we remove training and education from a meaningful cultural context. 6. On April 19, 2002, U.S. 7. Much video game play is social. 8. Classic studies of play behavior among primates suggest that apes make basic distinctions between play fighting and actual combat. Sources Gee, James.
Guagua Pública: Introduction to the Transmedia Storycube for Authors
As I continue to explore the transmedia space, I've repeatedly come across the discussion of the storycube and their importance for thinking transversally. Simply put, any "story" that you have consists of three basic components: the characters, the location, and when the story takes place. If you think back, you might remember this diagram from an old math class, where you had to plot data on a graph using data points on three axis (x,y,z). That's all a story cube is, a three dimensional graph of the data points in a story.Using each of the three variables as an axis, x = location, y = characters, and z= time. Now, it gets interesting! It's critical now to understand that this is NOT the complete cube. If we consider the base state of the storycube to be the key narrative arc for your story, then the base state is the current set of characters, locations and time frame; the currently "plotted" data points.
Transmedia Talk Podcast – Episode 14
Welcome to Transmedia Talk a new podcast covering all things story. Transmedia Talk is co-hosted by Nick Braccia and Robert Pratten and looks to shed light on the topic of transmedia storytelling with commentary, interviews and tips on how storytelling is moving into the 21st century. download Or Subscribe iTunes NB: If you’d like to give us feedback, recommend yourself as a guest or suggest topics to cover – please email us at talk@workbookproject.com or Tweet away with the hashtag #tmediatalk Hosts.. and Guests for this week Nick Braccia from Culture HackerRobert Pratten from TransmediaStoryteller.com Dee Cook from Dog Tale Media Haley Moore The panelists discuss their early & current experiences with developing and executing transmedia projects. Running Time
Ocean Marketing: How to self-destruct your company with just a few measly emails [update]
Update: A representative for the Avenger Controller (a new one, obviously) has released an official statement regarding Ocean Marketing’s involvement with their product and the actions of Paul Christoforo. Original story: Strap yourself in, you’re about to witness the most outlandlish PR blunder in video gaming history. And trust me, there have been many… From VentureBeat Customers don’t just get irritated when you screw up cross-channel personalization. Starting earlier this morning with a post on Penny Arcade, co-founder Mike “Gabe” Krahulik brought to light a series of emails between Dave, a customer politely inquiring about the status of his Avenger PlayStation 3 controller order, and Paul Christoforo of Ocean Marketing, the PR lead for the product. I’m going to repost the emails in their entirety, then we’ll continue much, much further down the rabbit hole afterward. From: Ocean Marketing To: Dave Dec 16, 2011 2:45 PMDec 17– Paul Christoforo
Geek Inc
Techniques for Segmenting Content Across Media
Hello everyone! Today we’ll delve into segmentation techniques. By segmentation I refer to the various ways unique content can be continued across different media platforms. This doesn’t mean cutting up content created for a single session (a feature film for instance) and then delivering it in parts (although you can do that!). It should be noted first that across countries and industries, terms such as ‘episodes’, ‘serial’ and ‘series’ are employed with different meanings. Multi-Platform Episodic: Series A multi-platform series delivers self-contained episodes in different media platforms. Director and writer Joss Whedon has also employed this technique for his Buffy: The Vampire Slayer and Firefly/Serenity properties. In these examples, the multi-platform episodes continue a primary storyline, but each episode in each medium is self-contained. Posted Jan 29, 2004 The website provided the ending of the sequence in a 20second clip. References Rollings, A. and E.
Transmedia Producer - Ideas, Tools and Insight from all Around
ClickBrain - Marketing is Dead. Long live the relationship!
Dépasser le discours commercial et proposer le contenu de marque comme don généreux
Voici une autre partie de la séance de 2007 avec Raphaël Lellouche rédigée par Matthieu Guével. Nous y avons abordé la question du don que constitue le contenu de marque avec en référence Marcel Mauss et Paul Veyne. Le Brand content, en tant que contenu éditorial ayant un intérêt intrinsèque, sans obligation d’achat, se présente finalement comme un don fait par la marque à l’ensemble de ses auditeurs potentiels. Quels modèles explicatifs du don ? Le mécanisme du don est complexe, et mériterait à lui seul un développement détaillé. o Marcel Mauss dans son Essai sur le don a montré comment le don suscite des contre-dons, et institue la dynamique de l’échange dans la relation « gratuite ». o Paul Veyne dans Pain et Cirque a bien expliqué le mécanisme de l’évergétisme, et la façon dont les notables romains donnaient au peuple des gratifications apparemment détachées de tout contenu lié au pouvoir, en échange de quoi le peuple leur prolongeait sa confiance. 1) Don et Contre-don o soit de plaisir
