To Spread or To Drill? « Just TV I was invited by Henry Jenkins, Josh Green, and Sam Ford to contribute to a book project they are working on, Spreadable Media: Creating Value in a Network Culture.You can see an outline of the project posted serially on Henry’s blog, emerging from a research paper drafted as part of the Convergence Culture Consortium. The book will feature Henry, Josh, and Sam’s skeleton, fleshed out by short contributions from a range of media scholars and practioners–I was asked to contribute a piece on “Complexity and Engagement,” considering how the narrative complexity that I’ve been working on fits within patterns of spreadable media. As I am want to do, I broke away from my assigned topic. Instead of considering how spreading explains engagement with seriality and complexity, I pose another metaphor: drillable. I’ve posted a draft of the essay beneath the fold – as always, comments and constructive criticism are welcome! Complexity and Engagement Like this: Like Loading...
Transmedia Storytelling 101 I designed this handout on transmedia storytelling to distribute to my students. More recently, I passed it out at a teaching workshop at the Society for Cinema and Media Studies. I thought it might be of value to more of you out there in the community. Much of it builds on the discussion of that concept in Convergence Culture, though I have updated it to reflect some more recent developments in that space. For those who want to dig deeper still into this concept, check out the webcast version of the Transmedia Entertainment panel from the Futures of Entertainment Conference. Transmedia Storytelling 101 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
¿Qué es transmedia? - Transmedia Experience Transmedia. Esto es sobre contar historias. “Todo medio comienza con el autor diciendo. Aunque transmedia se puede decir que nació con el nacimiento de la historia y sus primeras manifestaciones pueden ser asociadas al lanzamiento de las obras de Homero, desde la llegada de Internet este concepto está dando un salto cualitativo que está llevando consigo el nacimiento de una nueva forma de contar historias, una nueva forma de arte que está en su proceso de definición como en su momento la novela o el cine necesitaron de siglos o décadas para ser definidas. Como dice Elan Lee en la cita que encabeza esta página estamos ante una nueva forma de contar historias que tiene la red como principal canal de distribución y por tanto los medios de comunicación que en ella existen como los canales para llegar a los espectadores. Figura de Robert Pratten, el todo es más que la suma de las partes. Frank Rose, The Art of Inmerssion Jeff Gómez, Starlight Runner Henry Jenkins, Convergence Culture
Storytelling 2.0: Alternate Reality Games - O'Reilly Radar Publishers are experimenting with an emerging form of interactive entertainment known as Alternate Reality Games (ARG). ARGs are mediated by the Web but they also extend into the real world, with players traveling to physical places and interacting with game characters via email, text messaging, Twitter, and even “old-fashioned” telephones. I spoke to the founders of ARG design firm Fourth Wall Studios, the company that created the first publishing ARG, Cathy’s Book. Q: Do you think the high level of engagement required of an ARG limits the audience? A: Elan Lee, Fourth Wall Studios Founder/Chief Designer: ARGs up until now have been like rock concerts. To continue the metaphor, think of our games [at Fourth Wall] as ARG “albums” instead of concerts: something you can play when, where, and how you want. Q: Many ARGs have been developed as promotional tools for other media: music releases,films, TV series, video games, and now books. Q: What happens when the game is over?
HYPERMEDIA The shirt on your back: the human cost of the Bangladeshi garment industry | World news Turn autoplay off Edition: About us Today's paper Subscribe The shirt on your back: the human cost of the Bangladeshi garment industry How did the clothes you're wearing get to you? Sponsored by: The shirt on your back How did the clothes you're wearing get to you? Enter WARNING: contains images some viewers may find distressing Did the Rana Plaza disaster change your shopping habits? © 2016 Guardian News and Media Limited or its affiliated companies. This article was archived on 21 December 2021. Send to a friend Your IP address will be logged Share Short link for this page: //gu.com/p/3zbxy Contact us Report errors or inaccuracies: userhelp@theguardian.com Letters for publication should be sent to: guardian.letters@theguardian.com
THE TRANSMEDIA DESIGN CHALLENGE: Co-Creat I agreed to give a keynote address at the "21st Century Transmedia Innovation Symposium". Normal dictionaries do not have the word "transmedia," but Wikipedia does. That definition introduced me to many other words that neither I nor my dictionaries had never before heard (for example, narratological). Strange jargon aside, I do believe that there is an important idea here, which I explore in this column. We live in exciting times. In the bad old days we learned that thinking - cognition - was king. But that is not how people have evolved. Games are the natural way we explore the world. Transmedia is a strange beast. Let transmedia stand for those multi-sensory natural experiences: trans-action, trans-sensory. There is another side of this new transmedia: co-development, co-creation, co-ownership. The personal computer revolution has been both liberating and restricting. Today, we are moving beyond the constraints of the mouse, screen, and keyboard. But how much of this is creative?
Smarter Creativity - Blog - The Futures of Entertainment, Narrative & Transmedia Storytelling is at the center of a massive convergence of technologies used for everything from advertising to arts and culture building or to simply entertain. This past November The Futures of Entertainment Conference, hosted by the Convergence Culture Consortium, took place at MIT. The conference brings together scholars and key thinkers from television, advertising, marketing, and the entertainment industries to discuss the unfolding future of the media landscape. Here are all the sessions from the conference along with complementary presentations, blog summaries, tweets and other related materials all in one convenient location for easy study. If you work in these industries and storytelling is at the center of what you create you must watch, they are an intensive course in the things that you will be expected to know how to execute in the very near future. Keynote: Revenge of the Origami Unicorn: Five Key Principles of Transmedia Entertainment by Henry Jenkins Rachel Clarke’s notes.
Taking charge: media regulation, digital democracy and education | David Buckingham How can we – and should we – regulate the digital media landscape? And what role might education have to play? Some current issues for media students and their teachers. Regulation is a key topic in media education, but it can seem dry and difficult to comprehend. The fundamental issue here is to do with how the government intervenes in the media market – not just to restrict and control it, but also to shape and develop it in particular ways. Regulation is about much more than censorship, for example in order to prevent harm or offence. Regulation is becoming more complex in a changing media environment. In anticipation of an early election, the UK Labour Party is now generating a plethora of specific policy ideas – including in the area of media. owever, Jeremy Corbyn’s ‘Alternative MacTaggart Lecture’, delivered at the Edinburgh Television Festival a few weeks ago, is worth much closer attention. Regulation in this area would not be easy to achieve.
Using Video Games to Burn all that Fat Caused by Playing Video Games (TCTV) HopeLab is a nonprofit video game lab founded by Pam Omidyar, wife of eBay founder Pierre Omidyar. That’s right, I said non-profit video game lab. It seeks to make the world better through video games, and it’s hoping it has a new hit on its hands with Zamzee. Zamzee combats sedentary behavior by giving kids and teens points for moving more throughout the day and those points can be used to buy virtual goods or exchange for gift cards. Early research shows a whopping 30% jump in activity when people play Zamzee– the equivalent of running a marathon every month. Using Video Games to Burn all that Fat Caused by Playing Video Games (TCTV)
Eva Domínguez Now leaving from platform 1 From a Facebook post by Tahereh To all my friends: What can I reply to Hossein? He’s pursuing me so avidly, but you know he isnt really a prime catch. No education, no house. If it werent for the earthquake, I wouldnt give him a second look. Oh no, now he’s chasing me across the field. DB here: Many people in the film industry hold media studies in disdain, and often the feeling is mutual. So it’s heartening to see movement in the other direction. For example, in a recent Entertainment Weekly story about why women viewers like horror, we read: One of the most consistent tropes of the genre is the character whom filmmakers call ”the final girl” — the survivor. Actually, it was Carol Clover, scholar of horror movies and Scandinavian epics, who came up with the “final girl” nickname in her book Men, Women, and Chainsaws. Even more striking is a recent Variety article entitled, “Transmedia Storytelling Is Future of Biz.” From aggregator Movie MMORPG: What makes this traditional idea sexy?
Transmedia 202: Further Reflections The above video was shot by Scott Walker during one of my presentations at San Diego Comic-Con, during which I spoke about some of the controversy which has surrounded the definition of transmedia over the past six months or so. I’ve largely stayed out of these conversations, though you can find a very good summary of the debates here. I’ve been focusing on other projects and also I’ve been more interested in the shapes these discussions take than seeking to intervene in them directly, but over the summer, in a range of venues, I’ve been pushing and proding at my own definitions to see if I can capture some of my own shifting understandings of transmedia, especially as I am preparing to teach a revamped transmedia entertainment class at USC. Today, I am going to try to put some of this still evolving thinking into writing in hopes that it helps others sort through these issues. So, consider what follows Transmedia 202, to compliment my earlier Transmedia 101 post.
David Buckingham Reality has a gaming layer - O'Reilly Radar Kevin Slavin has been thinking about the intersection of games and daily life for nearly a decade. As the managing director of Area/Code, he’s worked with Frank Lantz to integrate gameplay into the fabric of reality using a technique they call “big games.” In the following interview, Slavin discusses the thinning boundary between the game world and the real world. What are “big games”? Kevin Slavin: They’re games that take place using some elements from the game system and some elements of the real world. At Area/Code we built another big game in 2004 called ConQwest. That was a very exciting thing to play around with. Using an urban landscape as a game board sounds a lot like Foursquare. KS: It’s not a total coincidence. How do virtual games like Second Life compare to the games you develop? Kevin Slavin: We always thought we would use Second Life as the enemy, that it was the exact opposite of what we were trying to do. KS: That’s a big question, and there’s a lot of ways to answer it.