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Transmedia Resources

Transmedia Resources
Related:  Transmedia

It's not you, it's Media. No Mimes Media LLC Storytelling and Business last updated 5/14/2004 We all have been told stories in our lifetimes since we were quite young. There is a common notion that the role of storytelling is primarily constrained to bedtime or play time for children. Recently it has become more popular to extend role of storytelling and the lable of storyteller to include the work of Hollywood filmmakers. "Really, I'm just a storyteller," we might hear Spielberg say in an interview on E!. "Me too!" The true role of story and storytelling is much greater, older, and elemental than Hollywood. Story and storytelling are tools like any other - a pencil, a computer. The links below represent a sampling of professionals, writers, researchers, and organizations that are furthering the investigation and application of story in business and other organizational contexts. -Kevin Brooks, Ph.D.kevin.brooks@motorola.com General Links Doug Lipman Storyteller, professional story coach and workshop leader. Vandania Story Studio

ARGNet: Alternate Reality Gaming Network storycentral DIGITAL Bourne Legacy: A Spectacular Transmedia Opportunity | Transmythology There were some minor updates in the trades this past week regarding the status of the fourth Bourne movie, tentatively titled Bourne Legacy . Actors including Jake Gyllenhaal, Garrett Hedlund and Michael Fassbender are reportedly in the mix for the film, to be helmed by Tony Gilroy. The interesting thing is that the actors are not reading for the recast role of Jason Bourne (previously played by Matt Damon). Instead, Bourne Legacy is intended to expand the story universe in a way that builds upon the existing trilogy of movies, as explained by Tony Gilroy in this article from last October: The easiest way to think of it is an expansion or a reveal. Jason Bourne will not be in this film, but he’s very much alive. Amongst an increasingly reboot-friendly Hollywood paradigm, this is an incredibly ambitious and exciting approach to continuing a franchise. Firstly, however, I should note that I am not opposed to retellings or even straight-up reboots in some instances. A Final Note Like this:

Center for Future Storytelling | Research The overall mission of the Center is to explore the convergence between art and technology—particularly as related to creative expression through story forms—in ways that elevate the human experience. To achieve this overall goal, storytelling-related activities of the CFS will address a set of macro themes: Christy's Corner of the Universe: cross-platform, creative practice, strategy, research, marketing, life... Part book, part film, part website - O'Reilly Radar How a web-based interactive documentary creates a new kind of book-reading experience I’ve been writing about and helping create digital books for about 15 years now and I don’t think I’ve seen anything as innovative, as well executed, and as plain lovely to look at as Welcome to Pine Point. No disrespect to the great work done by teams at Push Pop (Our Choice), Touch Press (The Elements), or Potion (NYPL Biblion), but all those projects take the print page as the starting point and ask: how can we best recreate that reading experience onscreen? Pine Point, instead, is an example of something that couldn’t exist in any other medium. So why is Pine Point such a success? Quality, for starters. I’ll highlight below some features that make the work especially noteworthy, but I urge you to have a look for yourself. Creator-led Reading Path The impulse to hand over navigational control to readers in a digital book is considerable. And what you get when viewing Pine Point is exactly that.

Faits Divers Paranormaux Tips for Connected Documentarians » The Connected Documentary This is an emerging field. But for filmmakers hacking on web-based stories, it basically boils down to this: You have to commit to the fact the “thing” you are making is not a linear, unchanging video with a discrete runtime (even if your users will experience it as such). For all intents and purposes, you’re making a web app. And you wouldn’t go about making a web app the same way that you make a traditional film. You have to start in pre-production with the “thing” in mind; conduct and store your research the right way; and have the right mental model. You can’t tack on “connectedness” after you’ve produced something completely disconnected. #1: Always stay in service of story. Your number one job is to tell a story. Technology can serve as inspiration, but never substitute for story. Technical possibilities can certainly serve as inspiration. Your creative process should start with a strong, compelling story, with characters who have real motivations (or motivating circumstances).

Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins 4D Commercials | RedMagmaMedia Blog At RedMagmaMedia, we have been investigating the new forms of storytelling for a long time. We have also tested many different methods and we have even developed proprietary technologies to recruit and engage large communities of participants around different types of content. We have reached the conclusion, that we have to be able to produce “4D Commercials” and we set in place a structure to achieve the goal. What does “4D Commercials” means in practical terms? We believe that TV Commercials need to have 4 dimensions to be effective and to play a meaningful role in the present media landscape. 1. Commercials have to be not only good but “unbelievably good”. 2. Commercials have to be powerful community builders and be able to congregate like-minded participants. 3. Commercials have to incorporate some form of call to action to energize the participants (the formerly known as “consumers”) and give them a mission. 4. May 30th, 2011

Your Princess Is in Another Game: The MIT Mystery Hunt | Magazine  Alex Calhoun shares his experience participating in the 2011 MIT Mystery Hunt. Calhoun’s team, Codex Alimentarius, was the first to finish this year’s hunt, earning the privilege to design the 2012 hunt. By Alex Calhoun, originally posted at ARGNet The time is 12:17 p.m. on Friday, Jan. 14, 2011. But as any video gamer might expect, just as the couple begins to recite their vows, Bowser sweeps in and kidnaps Peach: I’m sorry Mario, but your wedding is in another Chapel! Attendees to the opening ceremonies for the 2011 MIT Mystery Hunt were greeted with this disrupted ceremony, kicking off an annual competition that pits teams ranging in size from five people to over a hundred as they attempt to solve more than a hundred puzzles in a race around the clock to find “The Coin,” the amorphous victory trophy that signals the end of the year’s Mystery Hunt. For the 2011 hunt, teams were tasked with assisting Mario rescue his bride-to-be. Puzzles in Mystery Hunt are structured in rounds.

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