|
Yes
No
|
Adrian Hon,
Six to Start
Most ARGs are like icing on a cake - they make an existing TV show, movie, game or book taste even b...
READ MORE
Most ARGs are like icing on a cake - they make an existing TV show, movie, game or book taste even better by giving fans another way to explore and interact with the fictional universe. But you can't live on icing, so the question is: can an ARG ever work on its own, without relying on a massive audience from another medium?
Very few have tried, and there are no enduring successes (including my own Perplex City). As a result, many have implicitly concluded that a 'native ARG' can't be done, and are now moving on to transmedia. But at Six to Start, we think it can be done, and we've been developing Project 314 to prove it.
Project 314 is an online social game blended with an ARG, aimed at a mass audience (just like Zynga and Playfish games) but with a depth of gameplay, story, and world that they can't approach. During development, we found that there are enormous advantages in creating an ARG that's attached to an online game; for one, you can avoid the irritating friction that always occurs when switching between media; for another, it feels incredibly natural (and there are a few more to discuss)
It took us three years to come up with the idea for Project 314, and to assemble the right team. In this talk, I'll also share why Project 314 is so important for the future of games and storytelling, why it took so long, and how other game developers can create similar games (while avoiding the pitfalls we encountered).
Alternative Reality Gaming arg, Games, transmedia
|
|
Yes
No
|
Heather Gold,
subvert
Since the web began we've been talking about artists having a career without a label and going to fa...
READ MORE
Since the web began we've been talking about artists having a career without a label and going to fans direct. We finally have examples of it working. So what does it look like? SXSW Veteran Heather Gold sits down with collaborating songwriters Allee Willis (September, Boogie Wonderland, over 50 million albums sold) and Pomplamoose (over 28 million YouTube views) and you to find out.
Allee and Pomplamoose met online after Pomplamoose covered Allee's September and decided to collaborate together. By SXSW 2011 they will have released 3-10 songs, videosongs, a podcast and an online game together as part of a single project. This is a kind of collaboration, art and business that would not be possible without the web.
Allee has sold 50,000,000 records and yet cannot read or write music. Pomplamoose make all their songs in a tiny room crammed with a piano and instruments. Both are exceptionally accessible and conversational.
In this case study we’ll find out how "limitations" and openness serve them in an era of "personal brands." We’ll also dig into their collaborative process in making music and visuals together and find out how they've succeeded creatively and in every other way.
Case Study collaboration, music, transmedia
|
|
Yes
No
|
Alex Chapman,
Sheridans
Transmedia is here, and it's here to stay. More and more owners are looking to transmedia as a way o...
READ MORE
Transmedia is here, and it's here to stay. More and more owners are looking to transmedia as a way of extending the reach of their content. We will explore the current landscape and economics within transmedia but also propose new business models for the monetisation of transmedia content. The speakers are the first true transmedia lawyers in the UK. They have impeccable credentials to speak about all aspects of deal-making in this space. The first part of the presentation will focus on rights and money and include a discussion of which rights are required to launch a transmedia campaign; who should have an interest in those rights; how should those interests be regulated and how to control the transmedia process in a split rights world. The second part will consider the the ways in which these rights can be monetised; the current and new economic models for monetising these rights and what transmedia deal-making will look like in the future. We will then close by looking at transmedia for all - how accessible are these strategies to producers and content owners. Creating a compelling content proposition is critical to the success of a transmedia project but if content owners can walk a little faster and stand a little taller they have an opportunity to lead the way, and become stakeholders in the future of transmedia exploitation.
Entrepreneurism / Monetization monetisation, rights, transmedia
|
|
Yes
No
|
Nicolas Bry,
Orange
What new storytelling opportunities linked to the use of various media and interactive technology?
...
READ MORE
What new storytelling opportunities linked to the use of various media and interactive technology?
Transmedia Lab is an open initiative launched by Orange to foster the creation of transmedia stories, at the crossraod of content, usage, and technology. It focuses on 3 courses of action: 1) Training about transmedia culture and design framework 2) Coaching specific projects 3) Leveraging on technology to support transmedia stories delivery and interactive engagement. The panel discussion will be based on uses cases. It will go over new narratives, levers to enrich stories and transmedia delivery with each media benefits, technology and audience engagement.
Content community, storytelling, transmedia
|
|
Yes
No
|
Andrea Phillips,
Deus Ex Machinatio
The classic ARG storytelling technique involves putting content into the real world and web as if th...
READ MORE
The classic ARG storytelling technique involves putting content into the real world and web as if the story were really happening. But the line between truth and fiction online is blurry -- and getting blurrier all the time -- so not everyone who finds your content will know it's not for real.
One person's hoax is another's deeply immersive experience. And what one considers a killer practical joke can be a terrifying ordeal to somebody else. So how does a transmedia designer learn to strike the right balance between immersive and responsible?
Alternative Reality Gaming ethics, Games, transmedia
|
|
Yes
No
|
Britta Couris,
HUMAN: A live Communications Group
Lets take a good look at the evolution of marketing (brands, music, film, life) from personal to imp...
READ MORE
Lets take a good look at the evolution of marketing (brands, music, film, life) from personal to impersonal and back again. We are now at a crossroads. Equipped with multiple tools, platforms and technologies, we can continue the formulaic and faceless campaigns or we can return to the fundamentals and put people back at the center of our marketing efforts. By doing so we stand to create deeper, more relevant and sustainable relationships between brands and consumers. Technology tools (social networking, pop-ups, email blasts, takeovers) and their accelerated evolution are either going to be like rapid fire spaghetti thrown against a wall or powerful devices for developing lasting, transactional conversations. In the first case, some will stick, but we can DO and BE so much more. SEO might make you rise to the top baby, but will your cream taste as sweet? And in the end, will anyone really care? Come get down with the Humans. Together we will 1.) Look at marketing and technology to find what’s constant and what’s missing in successful campaigns/trends. 2.) Look at transmedia as an expansion of human curiosity and the power of constructing our own story–the DIY extension. 3.) Outline the necessary strategy to keep up with whatever techno craze comes our way. Because in the end, if you fall in love and become the humans you want to connect with, then they’ll tell two friends and so on and so on and so on…
Other marketing, Technology, transmedia
|
|
Yes
No
|
DL Willson,
im2b/Hyv
An open discussion/ journey of the new story structure. Just as cave paintings and generational folk...
READ MORE
An open discussion/ journey of the new story structure. Just as cave paintings and generational folklore became writing and literature and evolved to plays, then screenplays, and teleplays... This panel will discuss the new evolution move to think of a storyline as a "storycube" from it's birth from the writer's brain. A discussion of the new multi-platform convergence and the need for new tools and new thinking in how we tell/communicate the world of a story. Including ...the difference between "transmedia" as ancillary structures but as an initial convergent, organic and fluid ingredient in story. The purpose of transitions,walls and plumbing within and between projects. The concepts of portkeys and wormholes between projects, the existence of platforms and storylines that are less marketing, or ancillary markets, and more organic to the world of the "storycube." The idea of reciprocal force behind "story driving interface" and "interface driving story". The importance of rewiring our brains to understand cubic dimensions in story at it's inception/creation and process of moving forward with new tools like a transplay vs. screenplay, interactive day out of days scheduling, wardrobe, prop databases and "hypervideo" mapping for video interactivity and the concept of Tu-Is (a "transmedia user interface system" structure) to start to talk about shape of that storycube as it presents itself to an audience.
Other production processes, storytelling, transmedia
|
|
Yes
No
|
Evonne Heyning,
Toyshoppe Systems
With the rise of DIY gamebuilding engines the cost of game production now makes it possible for nonp...
READ MORE
With the rise of DIY gamebuilding engines the cost of game production now makes it possible for nonprofits, political campaigns and other public organizations to create a game overnight. Trends in social gaming for the social sector include persistent communities for causes, dynamic solution-based crowdsourcing challenges and trandmedia campaigns that fit well with video and web planning for large or small groups.
Are you trying to live video with virtual worlds for your upcoming fundraising event? Need to create a quick game, campaign or experience for your constituents but daunted by the task? Selling virtual goods to raise money for a crisis cause?
Explore mixed reality production, streaming embeds, twitter and comment community integration, game creation on the fly, collaborative processes for production. Figure out how to get your teams building together in 3D worlds, video mixes, challenges and design jams. Play your passion and make it fun for new people to engage with you!
Games for Good Games, streaming, transmedia
|
|
Yes
No
|
Steve Peters,
No Mimes Media
Steve Peters discusses transmedia entertainment's unique brand of participatory storytelling, which ...
READ MORE
Steve Peters discusses transmedia entertainment's unique brand of participatory storytelling, which surrounds your audience in unique and sometimes unexpected ways. Weaving a carefully crafted tapestry across the social, media and real-world platforms of people's lives, these experiences utilize every imaginable platform, designed to capture and engage an audience with a truly interactive narrative that they not only shape, but feel like they are a part of. Bring your laptops and mobile phones, as practical examples and design techniques (and maybe even a little actual participation!) will abound.
Alternative Reality Gaming transmedia
|
|
Yes
No
|
Jenka Gurfinkel,
Espresso
The human brain is hard-wired for narrative construction. Today, “transmedia” is the latest mark...
READ MORE
The human brain is hard-wired for narrative construction. Today, “transmedia” is the latest marketing buzzword, but it’s not just how we consume entertainment narratives. With every status update, photo upload, location check-in, and “like,” it’s how we experience the narrative of our lives. We will dive into cutting-edge transmedia applications and approaches, and you’ll walk away with a unique, new perspective on how to create not just a captivating transmedia narrative, but a culture-defining experience.
Alternative Reality Gaming Culture, social media marketing, transmedia
|
|
Yes
No
|
Craig Engler,
Syfy
Battlestar Galactica should be included in the definition of “transmedia.” Since debuting in 20...
READ MORE
Battlestar Galactica should be included in the definition of “transmedia.” Since debuting in 2002 the series has been experimenting with new platforms, starting with blogs, vlogs and podcasts, and growing to include 3 separate Web series, an interactive canonical guide to the BSG world, its own social network and a prequel TV series with even more transmedia content. Even though the main series officially ended in 2009, in the next year the BSG franchise will be launching a massively multiplayer online game and a new stand-alone prequel Web series, and there is still more content in the works. This presentation will look at transmedia content applied to Battlestar in the real world over the course of 8 years (and counting!), showcasing the past, present and future of interactive storytelling.
Case Study battlestar, television, transmedia
|
|
Yes
No
|
Tania Yuki,
comScore
The convergence of digital media channels and the increased popularity of transmedia storytelling - ...
READ MORE
The convergence of digital media channels and the increased popularity of transmedia storytelling - across digital television, online video, games and mobile - demands the removal of barriers and better and faster gadgets, apps, set top boxes and devices.
But what do people really want, and how can we ensure that our strategies keep pace with changing needs and desires?
Single source measurement and improved open standards are the launch pad in understanding how we are changing technology, and how technology is changing us in this new media landscape.
Open distribution enables new behaviors, which in turn shape the way we distribute and construct new media experiences. During this presentation, comScore's Tania Yuki will unveil fresh insights about how best to capture the increasingly fragmented attention of TV and video viewers as they go about their days and devices.
Online Video Audience Measurement, Cross Media, transmedia
|
|
Yes
No
|
Frank Rose,
Wired
In July 2009, after a 27-year-hiatus, the story of Tron began anew when Flynn's Arcade reopened at C...
READ MORE
In July 2009, after a 27-year-hiatus, the story of Tron began anew when Flynn's Arcade reopened at Comic-Con. The Flynn Lives alternate reality game, created by 42 Entertainment, was the beginning of an elaborate lead-in to 2010's Tron: Legacy, a live-action 3-D movie with unprecedented digital effects. As the original Tron, released in 1982, became a cult classic, Disney struggled for years to devise a followup. When they finally came up with the right story, they decided to tell it not just on the movie screen but through a variety of media experiences, including video games and the ARG. The goal was to recreate Tron as an immersive world for fans to explore as deeply as they like. Long championed by 42 Entertainment and by producer Sean Bailey at LivePlanet (his partnership with Matt Damon and Ben Affleck), this ambitious new form of storytelling has now been embraced by Disney and by a new generation of Tron fans. But how does it really work? At this panel the key players involved will explain their ambitions, their motivations, the lessons they've learned, and the difficulties they've confronted as they pioneer a new form of narrative for the 21st century.
Alternative Reality Gaming Flynn Lives, transmedia, Tron
|
|
Yes
No
|
Joseph Matheny,
Hukilau
In a time when independent film and media funding has dried up, where does a indie filmmaker, transm...
READ MORE
In a time when independent film and media funding has dried up, where does a indie filmmaker, transmedia artist, or musician turn for help get projects off the ground?
Platforms like Kickstarter, Biracy, Indiegogo, and Hukilau offer a range of solutions, for funding to production help to distribution.
With the barriers to entry finally lowered, new expectations of portability, accesibility (I want my media when I want it, how I want it...) what does the new digital landscape look like for new artists and their audiences?
New Technology / Next Generation crowdsourcing, transmedia
|
|
Yes
No
|
Bob Lyons,
WGBH Boston
What if you took a national digital public TV channel, re-focused it on a younger, more diverse demo...
READ MORE
What if you took a national digital public TV channel, re-focused it on a younger, more diverse demographic (median age 36), created an open source, media-rich web presence to feed it, and invited anyone with public media content to play (including creative types without transmitters).
You’d see strong growth, a batch of exciting new talents, boundaries erased between radio and TV, and some innovative technical breakthroughs. Two key participants in shaping and running this project will share the ideas, the successes, the challenges and some hard-won wisdom from one of public media’s most promising new ventures.
WORLD was first created in 2007 as a 24 hour digital non-fiction, news and documentary channel for Public TV stations: a partnership of WGBH, American Public Television and WNET, funded by the Corporation for Public Broadcasting.
Then, in July of 2010, these partners launched a highly focused but ambitious
re-thinking of the project, aiming to reach and engage a much broader audience and younger demographic across multiple platforms.
Bob Lyons, the Director of New Media for Radio and TV at WGBH, oversees the project’s online platform, and Kavita Pillay, an independent film maker, was drafted as Managing Editor and chief editorial muse of the web presence. In this session they’ll share the strategy, research, surprising discoveries (good and bad), and inspiring content examples. Public media-minded content creators are most welcome.
Content public media, public radio, transmedia
|
|
Yes
No
|
Jay Bushman,
The Loose-Fish Project
Transmedia has become a big buzzword in entertainment. So far, most of the conversation has been lim...
READ MORE
Transmedia has become a big buzzword in entertainment. So far, most of the conversation has been limited to gigantic media corporations with major franchises to advertise -- but companies don't make transmedia. People do.
At SXSW last year, a group of these people -- transmedia, ARG and net-native story designers -- convened to discuss the challenges of making a living and thriving in this landscape. Bitching gave way to action. They formed a new advocacy organization, representing individual producers and artists working in this still-hazily-defined world: the Transmedia Artists Guild.
TAG seeks to fulfill needs that are currently overlooked by established creative guilds and advocacy organizations. Its goals include: 1) Advancing clear definitions of what transmedia creators do; 2) Securing credit for transmedia practitioners; 3) Aiding companies in need of transmedia talent in finding professional practitioners; and 4) Providing a community for professional practitioners.
Find out about what TAG has planned, and how it hopes to transform the careers of transmedia practitioners — maybe even yours.
Economic Concerns advocacy, Career Development, transmedia
|
|
Yes
No
|
Daniel Lorenzetti,
TransMediaMatrix
A one-on-one interview with a prominent Transmedia Producer
Judging by the significant response t...
READ MORE
A one-on-one interview with a prominent Transmedia Producer
Judging by the significant response to last year's SXSW2010 Late Break Session we could infer that Transmedia Storytelling is a viable movement in interactive and entertainment. Soon thereafter the Directors Guild of America designated Transmedia Producer as a viable credit line. Good timing.
Transmedia is a very hot topic - in publishing, at film festivals, in advertising agencies and interactive studios. For years SXSW has heard from academics on the subject. Now it is time to hear from those actually working in the Transmedia trenches. The producers charged with creating and executing the transmedia projects. What is their take on this promising movement?
Join Daniel Lorenzetti of TransMediaMatrix and SXSW 2010 Transmedia Storytelling Presenter as he interviews a leading Transmedia Producer about the movement and the progressive projects that are blazing a Transmedia trail across the entertainment industry.
Entrepreneurism / Monetization interview, producer, transmedia
|
|
Yes
No
|
Anthea Foyer,
The Labs
Deep within our secret laboratory, The Labs team of new media scientists work incessantly to discove...
READ MORE
Deep within our secret laboratory, The Labs team of new media scientists work incessantly to discover the secret ingredients of successful transmedia projects. With the recent acceleration of transmedia projects, there have been a lot of successes and failures. But what are the common elements that determine these outcomes? Is it possible to harness them for your own projects? At this session we will reveal our findings to you, our audience. As with any good experiment, however, this will be a participatory event with the audience having the opportunity to become contributors as well. We know you are a smart audience with much to add to the experiment. After the event, our joint findings will be shared online with the world.
Other Convergence Media, Multiplatform, transmedia
|
|
Yes
No
|
Barbara Vance,
Copperplate Publishing
Transmedia stories are increasingly being seen as the direction of entertainment.
However, as Hen...
READ MORE
Transmedia stories are increasingly being seen as the direction of entertainment.
However, as Henry Jenkins has pointed out, there are few criteria on how to evaluate them.
In this panel, I will discuss that to truly understand how to construct a solid transmedia story, we must look farther back than The Matrix. We must look to the Greeks and their characters and stories, which crisscrossed through a complex web of drama, poetry, and oral recitation. I will address key archetypes and plot formations found repeatedly in both historical traditional narrative and in more recent successful transmedia franchises.
There are four key points all transmedia stories need:
1. Familiar, yet unfamiliar characters
2. Highly descriptive worlds
3. Cohesive Narrative Threads that hold to traditional narrative structures
4. Immersion Curves appropriate to the target audience
Without these four criteria, a transmedia franchise has little chance of success.
From Homer’s Illiad and Odysey to Faulkner’s Yoknapatawpha County to The Matrix and Hannah Montana – underlying all of these are solid narrative structures and rules that cannot be ignored, yet often are.
The problem is that companies are focusing more on the “how” of storytelling and not enough on the “why” the “what” and the “who.” A good storyteller must first assess his or her audience, then strategically choose specific plot lines and characters for specific mediums for specific audience segments.
Art Entertainment, storytelling, transmedia
|
Link to this page