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TRANSMEDIA PERFORMANCE & PLAY Rhythma Kapoor Seminar Week 7

TRANSMEDIA PERFORMANCE & PLAY Rhythma Kapoor Seminar Week 7. CONTENTS. Case study- whysoserious ARGs Case Studies. whysoserious. Whysoserious. The campaign centred on the web branched out over mobile mail flash mobs scavenger hunts casual games user generated content

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TRANSMEDIA PERFORMANCE & PLAY Rhythma Kapoor Seminar Week 7

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  1. TRANSMEDIAPERFORMANCE & PLAYRhythma KapoorSeminar Week 7

  2. CONTENTS • Case study- whysoserious • ARGs • Case Studies

  3. whysoserious

  4. Whysoserious The campaign centred on the web • branched out over mobile • mail • flash mobs • scavenger hunts • casual games • user generated content • collaborative narratives and streaming video. • Whysoserious

  5. Harvey Dent Vs. Joker’s army

  6. CTAs: Joker cards found in comic shop

  7. Participation: Ibelieveinharveydenttoo.com Emails registered. When achieved sufficient numbers, they eventually revealed…

  8. Rabbit Holes: "Jokerized" $1 bills are found that lead to Whysoserious.com

  9. CTA: Whysoserious.com– a recruitment site for ‘goons’

  10. CTA: RorysDeathKiss.com, challenging participants to take photographs in clown make-up by major national landmarks in groups.

  11. RABBIT HOLES: THE CAKES Sent to locations (apparently bakeries). Once there, participants are to pick up a package left under the name "Robin Banks." The package is a cake with a phone number on it. By calling the number, a phone inside the cake will ring. After digging into the cake, the participant will find an evidence bag with a cell phone, Joker card, cell phone charger, and a note: “Good work, clown! Keep this phone charged and with you at all times. Don't call me, I'll call you...eventually.”

  12. Results • Over 10 million participants - 75 countries = highly effective and engaging entertainment/marketing campaign. • 50m Google searches for The Dark Knight and more than 55,000 videos tagged The Dark Knight on YouTube. • By July 18, 2008, The Dark Knight website reached 1.5 per cent of entire users of the internet, the site had 5,270 sites linking to it • Blogsphere.com shows 106,299 blog posts on the launch day of the film alone. • On July 18, blogpulse recorded a peak of 1.307% of all blog posts on the web. • Some of the YouTube videos have received more than 4 million views each and generated hundreds of thousands of comments.

  13. What are ARGs? • An alternate reality game (ARG) is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants' ideas or actions. • The key thing about an ARG is the way it jumps off all those platforms. It's a game that's social and comes at you across all the different ways that you connect to the world around you.

  14. Transmedia Project Development Story Audience Experience Business Model Platforms Execution

  15. Transmedia Project Development Story Audience Experience Business Model Platforms Execution AR fits here

  16. Story Model Comparison Single-platform (movies, non-sandbox video games, books) Multi-platform (ARGs, transmedia stories) Blurry boundary separating story from non-story Story told across many media artifacts Progression through the narrative negotiated among multiple authors and player-participants Story as layer • Clear boundary (or “magic circle”) separating story from non-story • Story contained within a single medium or artifact • Progression through the narrative orchestrated by authors or algorithms • Story as channel

  17. Approaching ARGs • How might the story be best served with this platform? • What experiences can I create? • What content can I deliver? • How does it fit within the storyworld? • What business model opportunities are there? • What audiences will be excluded/ included?

  18. ARG– when, where, how? Home Home Away Tablet Tablet Public screen?

  19. WHY ARGs? • Call-to-action • AR marker (offline to online) • Narrative (video, animation, audio) • Add interactivity to non-interactive media • Provide contextual story • Exploration • Provide contextual content • location-based content • Provide audience with tools • gaming • role-play

  20. [ARGs] are designed experiences with a strong potential for emergent, that is to say unexpectedly complex, group play and performance. • They are distributed experiences: distributed across multiple media, platforms, locations, and times. • They are embedded at least partially in everyday contexts and/or environments, rather than in marked-off gaming contexts and spaces. They prefer to adopt everyday software, services and technologies rather than exclusively gaming-platforms. • They have the effect of sensitizing participants to affordances, real or imagined. That is to say, they increase perception of opportunities for interaction. • Many, if not most, of their distributed elements are not clearly identified as part of the experience. Thus active investigation of, and live interaction with, both in-game and out-of-game elements is a significant component of the experience. • They have the effect of making all data seem connected, or at least plausibly connected. • They make surfaces less convincing. Underlying structures are what matter. • They establish a network of players who are in the know. They intentionally involve or engage others who are, at least temporarily, in the dark. • They inexorably create community. Jane McGonigal This Might Be a Game, 45

  21. What ARGs are out there?

  22. The whole world is our platform…

  23. Movies Signs Graffiti The whole world is our platform… Word of mouth

  24. Movies Instant Messages Phones & Answering Machines Signs Graffiti The whole world is our platform… Word of mouth Events Postcards

  25. Theatre Movies Instant Messages Books and comics Phones & Answering Machines Signs Graffiti The whole world is our platform… Word of mouth Email Single player games Events Hoaxes Postcards Techno-toys

  26. Adverts Wikipedia (see * above) Theatre Movies History Instant Messages Books and comics Phones & Answering Machines Installation art Signs Blogs Graffiti YouTube Twitter The whole world is our platform… Word of mouth Email Multi-player games Single player games Events Hoaxes Letters Postcards Techno-toys Software

  27. CASE STUDIES

  28. The Beast and ilovebees First wave of ARGs, 2001-2004 The Beast – A.I. Promo (2001) elaborate Murder Mystery played out across hundreds of Web sites, and utilizing email messages, faxes, fake ads, and voicemail messages

  29. The Beast ARG

  30. The Beast ARG

  31. Another example:I Love Bees • Used to promote Halo 2 launch (2004) • Elaborate narrative and radio play • Infiltrated the real world • Large Audience (thousands of players)

  32. World Without Oil (WWO)was a serious alternate reality game in 2007, a massively collaborative simulation of a global oil crisis, it set the model for using a net-native storytelling method (‘alternate reality’) to meet civic and educational goals. WWO invited people from all walks of life to contribute “collective imagination” to confront a real-world issue: the risk our thirst for oil poses to our economy, climate and quality of life. It was a milestone in the quest to use games as democratic, collaborative platforms for exploring possible futures and sparking future-changing action. wwo

  33. ARG: TRUTHABOUTMARIKA Swedishalternativerealitygame.They usedTV,newspapers,theweb,liveeventsandkindoftookoverthewholecountryforafewweeks.Thepremisewasa fakeevent,butitwastreatedasreal,andpeopleengagedwiththestoryinasortofambiguousway,notknowingfor surewhatwasreal,whatwasfake,whatwasconspiracy,etc.SuchafictionaltropeisoftenpartofARGwork,andmany woulddateitbacktoOrsonWellesandtheMercuryTheatre’sradioadaptationofH.G.Welles’WAROFTHEWORLDSin the30’s.

  34. MUSIC ARG: YEARZERO YEARZEROisanARGthatinvolvedfansofthebandNineInchNailsatconcertsbyleavingUSBdrivesin restrooms.Thosewhoactivatedthefilescontainedthereinonacomputergotinstructionsthatinvolvedthem inlaunchingtheviralgame,whichdepictsatheocraticdystopianfuture,thesubjectofthealbum.

  35. GLOBAL CAUSE: CONSPIRACYFORGOOD GlobalARGcalledConspiracyforGood, sponsoredbyNokia.Therewereextensiveliveeventsthatcontainedcluesthatcouldberetrievedviamobile augmentedrealitytechnologies,aswellasmanyotherevents.Thefictionalelements,especiallythoseabout theevilcorporation,werequiteelaborate.Therewasareal-worldcharityinAfricathatbenefitedfromthe activitiesaswell.

  36. HEADTRAUMA SHORT FILM ARG

  37. COLLAPSUS COLLAPSUSwasadocumentaryfilmonDutchtelevisionthatwasexpandedintoabroadertransmedia experiencethatintegratedgame-play,globalmapping,animationandotherelements.Wonthebestinteractivefilmaward attheSXSWfestivalin2011.

  38. WEB:TAKE THISLOLLIPOP InteractiveLiveFacebookConnectExperience TakeThisLollipopisacinematicwebsitecreatedinHTML5thatrequiresuserstolaunchFacebook Connectandauthorizetheuseofcontentintheaccount,whichisintegratedintoacreepy,serialkiller typeshortfilm.http://www.takethislollipop.com/ Thecinematicexperienceof“Lolllipop”isstartlingbecauseitembedsimages,maps,namesandfacts extractedfromyourFacebookaccountintothemovieseemlessly.

  39. ARCADEFIRE LEVERAGESHTML5VIDEO TheWildernessDowntown.http://thewildernessdowntown.com/:IndieRockBandArcadeFire,workingwith filmmakerChrisMilk,releasedasong“WeUsedtoWait”producedwithHTML5.Usersenterthezipcodeofthe placetheylivedasakid,andthevideoincorporatesstreetscenesgrabbedviaGoogleMapStreetViewfeature. Milkhasaslewofexperimentalvideo/webprojectsonhissite,includingthe2012FWABestwebsite(votedby fans),anothercollaborationwithaband,thistimeDangerMouse.http://portfolio.chrismilk.com/

  40. 3DREAMSOFBLACK WebGL/ChromeProject USING GoogleChrome’sbrowserfor leveragingthepowerofWebGLtechnologies. Userscangeneratetheirown“dreams”bydrawingonthelandscapeprovidedbythesiteorvotefor theirfavorites.

  41. LEVERAGESHTML5VIDEO AIMHIGHisawebseriesaboutateenagedspy.http://www.imdb.com/title/tt1730374/“Viewerslogonvia Facebook”andbygivingpermission,becomepartofthestory.https://www.facebook.com/AimHighSeries.

  42. BECKINFIELD Beckinfield(2011)–Usersubmittedvideostellthestoryofatown Beckinfieldisanewsitethatcreatesastoryworld,e.g.,amythicalCaliforniatown,andastorylinethat comesfromthesite,buttheunfoldingofthestoryiscreatedbyuserswhouploadvideostothesite thattheyhavemadeincharacters.Theoriginatorisanactorwhohadbeenhelpingfellowactors upload“audition”typevideostoYouTube,andyearnedforawaytoletactorsusetheirimprovskillsto furthertheircareers.Thesite’splatformcompany,Theatrix,hopestolicensethesoftwaretoother contentcompanieswhowanttoleveragetheirexperience.Theycallit“massparticipationtelevision.” http://www.beckinfield.com/

  43. Urban-basedexplorationgame: ACCOMPLICE TheAccompliceisanurban-basedexplorationgame/theatrepiece,launchedin NYhttp://accomplicetheshow.com/details-ny.phpandnowinLosAngeles http://www.accomplicetheshow.com/details-hollywood.php

  44. ANAMERICANSTORY ETHANRUSSELLebook(2012):“It’sYour History:HelpWriteIt” RockphotographerandmusicvideodirectorEthanRussellhttp://www.ethanrussell.com/index.htmlhasjust publishedhis“illustrated”memoir“AnAmericanStory”thatfeaturescopiousphotography,videos,anda companionwebsitethatisseamlesslyintegratedintothenarrative.HetellsmetheiBookversionontheiPadis thebestuser-experience.It’salsoavailablefortheKindle,Nook,etc.http://itunes.apple.com/us/book/ ethan-russell-american-story/id531762062?mt=11

  45. ThewebsiteallowsuserstoposttheirownreminiscencesofthehistoricaltimelineeventsitemizedwithinThewebsiteallowsuserstoposttheirownreminiscencesofthehistoricaltimelineeventsitemizedwithin Russell’snonfictionbook.Heintendstoreleasetheseusercontributionsinsubsequentversionsoftheebook, whichhetitledversion1.0.

  46. NEXUSHUMANUS 2011:NexusHumanusfromMichaelGrant aweb-basedstoryworldforhisnextstory,whichisfocusedona mind-controlorganization.http://nexushumanus.com/

  47. REMEMBERING9/11 Clark’sGMDStudioscreatedaninteractiveexperiencewiththeSmithsonianto remember9/11.Simple,textandimage-based.http://conversations.si.edu/

  48. EDUCATIONAL: ROBOTHEART Educationaltransmediaexperienceforkids

  49. Group work 5 • Complete the prototype of your ONE TM story world extension, which you will use in your final project. • Publish on CB & upload on BB. • Comment on at least 2 stories. • GROUP TOOLS!!!

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