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CM2052: Transmedia Entertainment & Marketing

CM2052: Transmedia Entertainment & Marketing. World Building Seminar Week 3 Rhythma Kapoor. 3. Today’s Seminar. • PART ONE: Transmedia Recap. • PART TWO: Creating Complex Universes. • PART THREE: Components of TM Universe Elements of world building in TM universes

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CM2052: Transmedia Entertainment & Marketing

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  1. CM2052: Transmedia Entertainment & Marketing World Building Seminar Week 3 Rhythma Kapoor 3

  2. Today’sSeminar •PARTONE:Transmedia Recap •PARTTWO:Creating Complex Universes •PARTTHREE: Components of TM Universe Elements of world building in TM universes Narrative Elements of TM Universes •PARTFOUR:Case Studies 3

  3. TheTransmediaTao

  4. Two paths to world building… Storyworlds for Entertainment Franchises ARGs for Marketing Communications

  5. Storyworlds Multiple story arcs within a single storyworld. Regardless of the format (book, game, film, toy etc.) the story arcs overlap each other. These overlaps can be character, location or time based. 3

  6. Alternate Reality Games (ARGs)

  7. Storyworlds as Entertainment Franchises

  8. The Basics • Each story is set in an imaginative universe and each universe is governed by laws. • Narrative elements and signals act as amplifiers of meaning • The creation of a transmedia work or project must: • ease the audience’s access to the multi-media content and • rouse a willingness of participation and sharing from the audience.

  9. A transmedia story is like the sum of stories “split” into multiple media, but all developed according to the Aristotelian three-act structure:

  10. Dramatic Elements Theseare based on dramatic features such as: conflict resolution, pursuit of the goal, reversal or confirmation of a point of view, evocative interpretation of the theme involved across media, and comprehensive, effective, and emotional strengthening of the tale. Example

  11. Creating Complex Universes Creating new worlds – original or pre-existing ones – is equivalent to creating “complex systems of reference” which are able to enrich the traditional narrative. These operations, are defined as world making and building, These are useful for: enhancing a tale’s imagination, taking complete advantage of its rules, myths and creative spin offs.

  12. Components of World Building • Some narrative and imaginative components • Universalsynthetic structures • Iconic elements • Archetypal features of thestory

  13. Universal Synthetic Structures The basic coordinates of the narrative universe on which a transmedia tale is based; They are the signs and dimensions able to catch and transmit to the audience the reference and situationalcontext of the project.

  14. Iconic Elements Points of view and interpretations They are like symptoms of other realities, different from the ones on the surface of the story, or which are hidden beneath. In this sense, iconic elements don’t enter the narrative on an upper level, but it is like they have always been there. The result is to give the audience the impression of the right track, to properly face the challenge of use and, thus, be part of the game. The use of iconic elements in transmedia projects is necessary to accelerate the entry of an audience into the story and help the passage from one medium to another within the communicative system.

  15. Archetypal Figures Archetypal figures archetypal features provide the main emotional connection in order to have the unconscious participation of the audience, both on the personal level and the collective imagination level. E.g. the primordial symbols shared among several cultures on the imaginative level

  16. Elements of World Building in Transmedia Universes • Points of Entry • Trigger Points • Teasers • Rabbit Hole • Pivot Point • Distributed Narrative • CTAs • The stop and go effect • The Domino Effect • The Spin-off Effect

  17. Points of Entry How a user can enter your story/property/project. These may be platform, medium, content based. Multiple POE’s for Transmedia projects. The audience must reach a project’s points of entry by consciously moving towards them.

  18. Teasers & Trigger Points • Teasers • Teasers have traditionally given information about an upcoming event but with no CTA. • Trigger Point • A Trigger Point motivates the audience to follow up on the teaser information. • A Trigger Point usually refers the audience to the Rabbit Hole.

  19. Rabbit Hole Sets the foundation of the world and the Experience Use linear media Tells the story Hook Stickiness Creeps into our lives Has CTA

  20. Call To Action (CTA’s) • presenter based, visual, unintended! • Ability to move between components • Audience has three stages: • motivation to act (primer), • sense of the action (referral) and • personal reward for the action done by the audience (reward).

  21. Pivot Point • Certain aspects of Interactive narratives • Provides strong narrative backbone • Penetration to mass audiences

  22. The stop and go effect During the course of the story, one of the middle segments of a project is suspended, while other parts continue on, and then the stalled segment resumes its course as if nothing happened. For example, in a transmedia promotion of a movie, online trailers all around the world simultaneously disappear from the web as soon as tv and radio commercials are aired , and then return online a few days after the movie comes out.

  23. The Domino effect A particularly emotional narrative in one of the multiple media platforms or a particular asset of a transmedia project becomes temporarily more important than the others. This dominant asset changes the flow and direction of all other assets and acts as the dominant ‘driver’ until the conclusion of the project.

  24. The spin-off effect One of the platforms in a transmedia project can temporarily attach itself to another medium in order to strengthen or revive its role or its content and continue towards a secondary goal in respect to the project as a whole.

  25. Narrative Elements in TM Universes • Theme • Characterization • Atmosphere • Point of View (PoV) • Author • Audience • Two- goal structure • Burke’s pentad components • Access to world (audience) • Shared mood (audience & creators) • Collaboration (audience & creators) • The Hero’s journey

  26. The Hero’s Journey

  27. The Art of the H3eist “The Art of the Heist” embraced the target audience’s need of control over their environment and invited them into an immersive 24-hour-a-day alternate reality. This story blurred fact and fiction by concocting a mysterious storyline that involved consumers in the recovery of an A3 stolen from Audis Park Avenue headquarters in New York City. At the heart of the narrative were six new A3s containing coded plans for the largest art heist in history; however, one car contained the key to decrypting the information hidden in all the others, and the mystery surrounding the “heist” unfolded in real time over three months across the country. The Heists final chapter was played out in front of a live audience at the Viceroy Hotel in Los Angeles, where we finally discovered who the real villain was.

  28. ArtoftheH3ist McKinney-Silver Report

  29. ArtoftheH3istDissection:Launch ARGN announce Meta Forums, Trail,Guide, StolenA3Blog Wikis,Blogs, RSSFeeds Blogs:Kuro5hin,MetaFilter, GearLive,Museum of Hoaxes PortaGamehughhewitt.com, dailykos,lockergnome,The NewYorkerTimes... Gameplay AutoShow In- game Ads Story sites Break-in video PrintAdsin:Wired,Esquire, RobbReport,USAToday, TheNewYorker… Storyworld D18D19Day20 April4 Official DayOneD2D3D4D5D6D7D8D9DayTenD11D12D13Day14D15D16 16March2529 March March Day17 April1st Day22 April6 Launch

  30. ArtoftheH3istDissection>POEs AudiUSA.com microsite HardcoreARG players 51% AtomFilms, iFilm Blogs:Kuro5hin, MetaFilter,GearLive, Museum of Hoaxes PortaGame hughhewitt.com, dailykos, lockergnome,The NewYorkerTimes... Rabbit Hole TriggerPoint PrintAdsin:Wired, Esquire,RobbReport, USAToday,TheNew Yorker… StolenA3 Blog PivotPoint NishaRoberts movie NYCInternational AutoShow

  31. Results:The Art of the H3eist • More than 200,000 people became involved with the search for the stolen A3 in a single day. • Online buzz for the A3 grwe by more than four times as a growing number of consumers participated in the thriller. • Within the first few days of the campaign launch, seven fan sites were created, one of which includes a "Top 10 Reasons to Play Art of the Heist."

  32. Lessons from The Art of the H3eist • Continually create components that refer new audiences to your Rabbit Hole; • Your Rabbit Hole needs to persist in this role; • Have a pivot point & guide to the unfolding experience; • Use hardcore players as characters; • Target & address hardcore & casual players; • Mix up using everyday devices, immersive play and linear narrative; • Use a real-world performance ending.

  33. The Pandemic At the center of the PANDEMIC experience was a short film. The short tells the story of a young boy and his sister as they struggle to come to terms with the fact that their mother has fallen ill. The short premiered at the festival, on TV, via mobile and online outlets. It screened in the US Shorts section, one of 44 films out of over 6,000 entries. Later this year and into 2012 a series shorts will be shot in London, Berlin, Paris, Barcelona and Rome which expand the story world of PANDEMIC.

  34. x
 MISSIONCONTROLwasaphysicalspacedesignedtogivethesenseofaCenterforDiseaseControl (CDC).Itprovidedanoverviewofallthegameplay.Allofitsdatavisualizationswerepoweredby participantsgameplay.Realworldandonlineactionsimpactedthepacingofthestoryworldandalso unlockedhiddenelementswithinthegame. www.lanceweiler.com@lanceweiler

  35. FiftyNFC(nearfieldcommunication)enabledNexusSphoneswerecirculatedthroughoutthefestival.FiftyNFC(nearfieldcommunication)enabledNexusSphoneswerecirculatedthroughoutthefestival. Distributedinbiohazardbagsalongwithhandcrankstokeepthemcharged-thephoneswererandomly passedfromonefestival-goertothenext.Whenactivatedthephonespresentedaseriesofmorality questions.Basedontheuserʼsresponseasimpletaskwaspresented–“shootaphotowithyoureyes closed.”Thousandsofphotosweretakenoverthe120hours. www.lanceweiler.com@lanceweiler

  36. WhenthephonesmadetheirwaybacktoMISSIONCONTROL,userscouldsetthemontheMicrosoftWhenthephonesmadetheirwaybacktoMISSIONCONTROL,userscouldsetthemontheMicrosoft Surfacetablelocatedinthecenteroftheroom.AsthephonerestedontheSurfaceallthemediathat hadbeenshotwiththephonewouldbecomeaccessible. www.lanceweiler.com@lanceweiler

  37. HiddenobjectsbroughttoMISSIONCONTROLthattouchedtheMircosoftSurfacetablewereableHiddenobjectsbroughttoMISSIONCONTROLthattouchedtheMircosoftSurfacetablewereable manipulatethewallsoftheroomandimpactthespreadofthepandemic.Forinstanceallthehidden objectshadhealthpropertiesthatwhenfoundandtouchedtotheSurfacetablewouldcombatthe pandemicandreducethenumberofpeopleinfected. www.lanceweiler.com@lanceweiler

  38. Aspecialroomwascreatedasamemorialtothosewhocontractedthevirus.PlayersdiscoveredthateachAspecialroomwascreatedasamemorialtothosewhocontractedthevirus.Playersdiscoveredthateach personisrelatedtoaGOLDENOBJECT.Theobjectsholdstoriesandmemoriesthatshowhowthepeople intheroomknoweachotherandprovidedinsightintohowthevirushasspreadsocially. www.lanceweiler.com@lanceweiler

  39. Over600NFCtagsareutilizedmakingitthelargestdeploymentatapubliceventtodate.WhenscannedOver600NFCtagsareutilizedmakingitthelargestdeploymentatapubliceventtodate.Whenscanned withanNFCcompatibledevicestoryelementsareunlocked.Forinstance,holdingaphoneuptoa “closedeye”portraitresultsinthe“person”openingtheireyesonthephone.Thisactionsymbolizesa connectionandunlocksastoryabouttheperson. www.lanceweiler.com@lanceweiler

  40. AllfiftyGOLDENOBJECTSholdastorythatprovidesinsightintothevictimsofthepandemic.ThelevelofAllfiftyGOLDENOBJECTSholdastorythatprovidesinsightintothevictimsofthepandemic.Thelevelof engagementbetweenthoseonlineandthoseatthefestivalwasamazing.Duringthecourseofthe120 hourexperienceeachphonepassesonaverageatleasttwentytimesperday.Atpointsthroughouttheday phonenumbersofthefiftyphonesarereleased.Thisresultedincallswhichconnectedthoseonlinewith randomstrangersatthefestival.TogethertheywouldworktogetitemstoMISSIONCONTROL. www.lanceweiler.com@lanceweiler

  41. BasedonathemewithinthestoryworldrelatedtomemoriesandmaterialpossessionsfourspecialBasedonathemewithinthestoryworldrelatedtomemoriesandmaterialpossessionsfourspecial BEARSwerecreated.TheBEARSmovedthroughoutthefestival.Eachoneisaconnectedtoywitha camerainthestomach,anmp3playerinthearmandaslideviewerforaneye.TheBEARSarealso dockableandcaneasilyconnecttoalaptopordesktop. www.lanceweiler.com@lanceweiler

  42. Asthe120hourexperiencemovesintothelastday,thenarrativeofthestoryleadsonlineandofflineAsthe120hourexperiencemovesintothelastday,thenarrativeofthestoryleadsonlineandoffline playerstoasecretlocationatSundance.Inaseamlessflowthenarrativethreadofthepreviousplay meldswithaspecialsecretshowwithworldrenownedDJ-KidKoala. www.lanceweiler.com@lanceweiler

  43. TheshowwithKidKoalaisstreamedliveforalltheplayersofthegameandthe120hourexperienceTheshowwithKidKoalaisstreamedliveforalltheplayersofthegameandthe120hourexperience comestoaclose.Withinthenarrativeofthestoryonlineplayersandthoseplayingatthefestivallead33 ofthephonesthathadbeeninthewildfor5daysbacktous. www.lanceweiler.com@lanceweiler

  44. Other Case Studies • Collapsus • http://vimeo.com/16961934 • http://www.youtube.com/watch?v=VxGkRUQK_I4

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