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Cross-Media

Cross-Media. Susana Tosca. Cand. comm. & cand. phil. Phd Digital Litteratur Linjeleder DDK Lektor i afdelingen for Innovative Communication (INC) Medlem af Center for Computer Games Research Forsker i digital kommunikation, kultur og spil Underviser i Digital Kultur Sproget!!.

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Cross-Media

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  1. Cross-Media Susana Tosca

  2. Cand. comm. & cand. phil. Phd Digital Litteratur Linjeleder DDK Lektor i afdelingen for Innovative Communication (INC) Medlem af Center for Computer Games Research Forsker i digital kommunikation, kultur og spil Underviser i Digital Kultur Sproget!! Hvem er jeg

  3. It´s everywhere

  4. A battle of words MultiMedia Multimodal Cross- Media VS

  5. Cross-media focus on • Sinergy between platforms and relation possibilities (Bechmann Petersen) • Select the best channels for each kind of content, effective combination (Wilson & Odgen) • User needs to operate across several media in order to interact with the product: alternate reality gaming (Mc Gonigal) • Content that spreads across and migrates between media: transmedial worlds (Klastrup & Tosca)

  6. Cross-media sinergy & relations ”en kommunikations- og produktionsform, der er en speciel form for hybrid- eller flermedialitet. Den er kendetegnet ved at gå på tværs af to eller flere medieplatforme. Tværmedialitet er en kommunikativ arbejdsdeling mellem platforme, hvor brugerens øgede opmærksomhed, handlefrihed eller loyalitet er i centrum, eller en produktionsform, hvor synergien mellem platforme er i fokus.” (Bechmann Petersen, 23)

  7. Cross Media Senders Select the best channels • Need to be aware of the advantages and disadvantages of media channels • Need to be able to combine them according to context and receiver´s status • Media can be classified according to impact, credibility, immediacy, cost, coverage possibilities, access, quality, speed... (p. 161) (Wilson & Odgen)

  8. Best media strategy? You are spin doctor for the main opposition party. Three days before the elections, a bomb explodes in a main train station. All the proofs point to Islamic terrorism, but the government denies this connection and accuses a local terrorist group. What media strategy does your party choose to spread the news?

  9. Cross Media Users Operate Across Several Media • Alternate Reality Gaming (pervasive gaming, cross media gaming) • Inspired by the idea of ubiquitous computing • All times, all devices, all actors • No ”reality” outside of the game, the game invades the player´s reality (ex. Metacortex) • A good example: The Beast and Cloudmakers, Mc Gonigal: ”A Real Little Game: The Performance of Belief in Pervasive Play”.

  10. ARG: The Lost Ring

  11. Give us a break!

  12. Transmedial Worlds – rethinking cyberworld design

  13. worlds we remember

  14. transmedial worlds Transmedial worlds are abstractcontent systems from which a repertoire of fictional stories and characters can be actualized or derived across a variety of media forms. What characterises a transmedial world is that audience and designers share a mental image of the “worldness” (a number of distinguishing features of its universe). The idea of a specific world’s worldness mostly originates from the first version of the world presented, but can be elaborated and changed over time. Quite often the world has a cult (fan) following across media as well.

  15. genre

  16. adaptation • Two major perspectives: • Semiotic: how the aesthetics and content of a work is adapted from one sign system to another • Story-centered: which aspects of the story are better adapted Transcoding: we shouldn´t look for exact semantic equivalents but elements that can be recoded anew.

  17. textual fallacy

  18. analysing a transmedial world • Mythos: the establishing conflicts and battles of the world. Backstory. • Topos: Setting (history and geography) • Ethos: Explicit and implicit ethics, moral codex of behaviour for characters

  19. transmedial worlds and cyberworlds Cyberworlds are computer-mediated, networked and spatially navigable multi-user environments. They contain the possibility to interact in real time with other users and to actively interact with and influence the world itself. They can be game worlds or entertainment worlds or social worlds, but most cyberworlds provide all three opportunities (gaming, being entertained, socialising) in some form.

  20. Lord of the Rings

  21. Star Wars Galaxies

  22. cyberworlds that aren´t transmedial worlds

  23. conclusions: using transmedial worlds for cyberworld design Transmedial cyberworlds allow the players to interact within a known and shared context, where they can be creators of their own stories – and be able to expand the universe themselves by making player-built cities, objects etc. However, the success of cyber-transmedial world depends on the designers’ ability to identify and implement the core elements of the ur-world without betraying its topos, ethos and mythos.

  24. thank you! Lisbeth KlastrupSusana Tosca http://game.itu.dk

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