The Who’s Who of Transmedia | Transmedia Storytelling (Fall 2010) The main characters in Doctor Who don't change every episode, but this isn't necessarily wrong. Just look at Star Trek for an example of a show that doesn't require character development to be good or engaging. While all of the Dr. Who storytelling outlets were appealing in their own way, I found the radio program to be the least engaging. The other forms of Dr. The comic book version didn’t catch my interest nearly as much as the stories that featured moving pictures. I certainly think it’s possible to stitch together a coherent narrative across multiple mediums; Doctor Who stands as a testament to this. The stories also feature similar structure in terms of characters. Doctor Who seems to consistently meet McKee’s requirement for a good scene: that a binary characteristic of a character is reversed. Like this: Like Loading... Junior at Trinity University.
Patricia Bergeron | Cinéma, transmedia, culture, lecture What is Transmedia Storytelling? Transmedia storytelling uses multiple media platforms tell a narrative across time. Each media piece—whether it’s a comic, novels, video games, mobile apps, or a film—functions as a standalone story experience—complete and satisfying. Like a giant puzzle, each piece also contributes to a larger narrative. The process is cumulative and each piece adds richness and detail to the story world, such as character backstories and secondary plotlines. Transmedia storytelling is fully participatory. The audience becomes actively involved, elevated to social and creative collaborators. 25 Things You Should Know About Transmedia Storytelling Let’s get this out of the way, now — this, like many/most of my other lists, could easily be called “25 Things I Think About Transmedia.” It does not attempt to purport concrete truths but rather, the things I believe about the subject at hand. I am something of an acolyte and practitioner in the transmedia cult, and sometimes give talks on the subject (as I will be doing next week in Los Angeles). So, here I am, putting my transmedia ducks in a row. Please to enjoy. 1. The current and straightest-forwardest (not a word) definition of transmedia is when you take a single story or storyworld and break it apart like hard toffee so that each of its pieces can live across multiple formats. 2. Transmedia is, admittedly, kind of a buzz-word. 3. The rise of any new or altered media form sees an awkward transitional period where everyone wants to define it. 4. Good storytelling is still good storytelling. 5. Transmedia these days is strongly marketing-centric. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.
C’est quoi une équipe transmédia ? « Fais-Moi Jouer ! Ce soir, le Social Media Club organise une conférence sur le Storytelling Digital. J’y interviendrai pour parler des nouveaux métiers liés au transmédia et plus spécifiquement aux ARG. Si vous le pouvez, rendez-vous à 19 heures à La Cantine. L’occasion pour moi de vous parler des nouveaux métiers liés à l’écriture et la production transmédia. Ayant eu la chance de le rencontrer à Power To The Pixel, j’ai pu demander à Lance Weiler en quoi consistait le rôle du Story Architect. Story Architect« Comment peut-on isoler des éléments du récit et des éléments créatifs (qui vont faire partie du récit) puis trouver les moyens de les transmettre en créant de l’émotion ? Le problème ici est évident : les profils comme celui de Lance Weiler sont peu nombreux. Toujours à Power To The Pixel, j’ai discuté avec Steve Peters et Maureen McHugh, respectivement experience designer et lead author de l’ARG « Why So Serious? LES Community Managers :Ils font vivre la fiction, ils sont la voix du projet.
Un nuevo camino para la narración multimedia * por Ivan Comas (realizador de vídeos y técnico de contenidos multimedia del departamento de Producción Propia en LaVanguardia.com) y Marta Franco (periodista, bloguera y comunicadora digital) narrativas transmedia Contar historias en internet es un mundo lleno de nuevas posibilidades. La linealidad se rompe. El relato ya no es finito. En periodismo también entra en juego la narrativa transmedia -las historias ya no están cerradas en un solo medio, sino que se extienden a otras plataformas usando diversas tecnologías digitales-. Así, el relato se entiende como una experiencia. Además, el espectador es más activo que nunca por lo que es imprescindible conseguir el entretenimiento y captar su atención. Paralelamente, en un momento en el que el Open Data está en su máximo esplendor, crece la fascinación por la visualización de los datos, una de las claves de futuro para el periodismo digital y sus nuevos profesionales. Relatos multimedia y ejemplos de storytelling Un manual de estilo abierto
Producing Transmedia Stories – 10 Reasons why Audiences do it Better… …than Agencies and Filmmakers. Why do transmedia professionals have a difficult time achieving authentic and fluid transmedia stories and why do ‘existing’ branded entertainment & digital agencies tend towards lowest common denominator, tried and tested formulaic cross media, more about PR, advertising and marketing than real ‘story’ focused engagement. Against this and rather paradoxically we have the ‘so-called’ audience/users actually telling their ‘life’ stories across platforms in a much more natural and engaging way. Having produced and studied cross media since 1997 (“What do Audiences Want” BBC pres) one very large and persistent problem has always been creating authentic transmedia stories – natural story arcs and bridges that lead you onward through a long format, multi platform experience. note: this is a personal/user POV condensed version of a longer chapter intro section in my wip book Networked Media Storytelling: Transmedia Design and Production. 2 Authenticity & Trust
OK Go – Band, Videographers or Viral Video & Transmedia Geniuses? Interview with OKGo The interview with Tim was only about a half hour, but there was so much information to pull out of it I figured it would be better appreciated it if were split into two pieces. Plus, each piece is about a thousand words and that's more than long enough for online reading. You can read Part1 here. OK Go has seen unprecedented success with their online videos of late and Jeremy likened them to Pixar who never seem to fail at their chosen creative outlet. How does OK Go come up with video ideas? We use a variety of techniques. Do they get help seeding their videos with views and marketing them? We recently started our own label with an internet staff of 2 so it's basically us, the fan base and the small staff of people who put it on YouTube, blogs, etc. How have things been since leaving the label, more challenges? There's definitely a lot more freedom or a lot less flagpoles to run stuff up. In regards to labels perhaps taking a page from their playbook Viral videos and makers they admire
Game Design Advance › Turn Me On, Dead Man: Why Urban Legends Make the Best ARGs In 1969, whispers of a strange rumor began spreading through college newspapers and radio stations across North America. Students in Iowa and Michigan had been tracking clues that pointed towards a sinister conspiracy dating back three years, that if true would suggest one of the most disturbing hoaxes ever staged. Though the mainstream media refused to take their claims seriously, they put their word out in broadcasts, reviews and books, in the hopes of spreading the news and letting everyone in the world know the terrible truth of an entire generation’s greatest heroes. Though that information is still widely written off, it is known in every corner of the earth today by three infamous words: “Paul is dead.” Was it true? See how Paul has his back turned on the back of the Sgt. However, more interesting than the mere narrative of the legend is the fact that it’s been actively perpetrated over the years.
Watch Henry Jenkins discuss Transmedia Storytelling (video) Henry Jenkins is the director, Comparative Media Studies Program at MIT. In this viral-info-snack he discusses the power of media in a 21 century trans-mediated world. A world where converging technologies and cultures give rise to a new media landscape. Thanks to the ever wise Cross-Media Specialist @ChristyDena, I checked out Henry Jenkin’s short video on transmedia, which discusses the origin of media and how it’s transformed today. Starting with storytelling shared within tribes, it goes onto the modern day commercialization of media owned by a few powerful conglomerates, and finally today’s re-tribalized media which is reproduced and remixed by anyone handy with digital tools as well as participates in online social networks (e.g. More importantly, Jenkins discusses the emergence of transmedia, which is an affordance of such democratic media tools. In summary, today’s experiences are best served flowy.
"Cenicienta 2.0": entiende el concepto de Narrativa Transmedia en unos minutos (vídeo) En mi último artículo os hablé del vídeo de Dani Calabuig de Draft FCB en #FOA2013. Lo mejor que he visto para explicar de forma clara y concisa cómo una marca puede beneficiarse de contar historias en un contexto transmedia. Pues aquí lo tenéis, cortesía de Pablo Muñoz, a quien le agradezco la generosidad de compartirlo con todos los lectores de este blog. Me parecen muy acertados: La visión de cómo se integran los consumidores en el proceso.El solapamiento de "ficción" y "realidad". La suma es un contenido que el consumidor sí quiere en sus vidas, hasta el punto de que participa activamente en él. Actualmente estamos trabajando en un contenido Transmedia parecidísimo a esto en Pop up Música. Próximamente más...
Announcing TransmediaVictoria | artsdigitalera What is Transmedia? “Transmedia involves the combining of multiple creative practices on a diverse range of platforms or artforms to deliver a cohesive, multi-sited, experience”. This is the definition used by the TransmediaVictoria production team, consisting of Christy Dena and Eve Penford-Dennis of Freeplay Independent Games Festival. Still confused? Let me explain from a slightly different perspective… We have heard a lot about the convergence of platform and content over the last ten years or so. Producers of content have therefore had to become specialists in more than one distribution platform. Transmedia is similar to ‘cross platform’, but differs in some subtle but important ways. There are increasing examples around the world, and the TransmediaVictoria site is full of them so I won’t waste time replicating here, but check out this high-budget, high-impact alternate reality game made as a viral campaign towards the release of The Dark Knight. I’m a huge fan of collaboration. So:
Transmedia storytelling: más allá de la ficción. | Hipermediaciones Cada vez que se habla de “transmedia storytelling” terminamos mencionando increíbles experiencias crossmedia nacidas al calor de las nuevas series televisivas (24, Lost, etc.), largometrajes (Matrix, Star Wars, etc.) o literarias (Harry Potter, Crepúsculo, etc.). Los libros sobre narrativas transmediáticas -a partir de los textos de Henry Jenkins como “Convergence Culture“- también suelen estar centrados en las producciones de ficción. Y sin embargo…Podemos definir a una narrativa transmediática a partir de dos variables: - La historia se cuenta a través de varios medios y plataformas: a diferencia de los relatos monomediáticos, en las narrativas transmediáticas el relato puede comenzar en un medio y continuar en otros. Hasta ahora la mayor parte de la reflexión sobre las narrativas transmediáticas ha sido “fiction-centred”. Transmedia storytelling y periodismo¿Podemos incluir al relato informativo en el estudio del “transmedia storytelling”? Bonus Tracks: Me gusta: Me gusta Cargando...