robert | March 5, 2014 ‐ No Comments
Here’s the moment our transmedia experience kicked off with a live performance! Below is the official press release…well, translated into English, the Spanish version is here.
Using Conducttr we’re building a MMORPG that’s played out on social media and real life across the whole of Spain. In future posts we’ll have a full case study.
CANAL+ AND TRANSMEDIA STORYTELLER LTD. JOIN FORCES TO TURN GAME OF THRONES INTO AN IMMERSIVE EXPERIENCE IN WHICH THE AUDIENCE PARTICIPATES
CANAL+ joins forces with Transmedia Storyteller Ltd., headed by Robert Pratten, to transform Spain into a huge storytelling canvas with one the world’s most ambitious transmedia entertainment experiences. Called 19Reinos, it will include, among other things, live events, a 5-episode webseries, a location-based online game and strong participation on social media.
Working from the premise “Si lo vives es verdad” (If you live it, it’s true), which is the motto of the communication campaign of the forth season of Game of Thrones in Spain, CANAL + has created an online multiplayer game that is also played in real life and that kicked off with the shooting of the video Aparición (Apparition) - one of the spots of the new season of the series in the presence of 300 fans from across the whole country.
The project is led by Belén Santa-Olalla, senior creative consultant at Transmedia Storyteller Ltd. with extensive experience working with leading brands in the entertainment and education market and supported by Robert Pratten, CEO and founder of Transmedia Storyteller Ltd. Pratten is a world expert in “transmedia storytelling”, which aims at creating powerful audience engagement through multi-platform user experiences. The project is made possible through a technology called Conducttr, that Santa-Olalla describes as a “pervasive entertainment platform”. Pratten, CEO at Transmedia Storyteller Ltd, comments “Conducttr revolutionizes entertainment and marketing because it delights fans with fictional stories that are blended with their real lives and allows the Canal + to develop a truly converged media strategy that encompasses social media, TV, press, PR and live events.”
From the beginning of the first season of Game of Thrones, CANAL+ has built a communication strategy aimed at fans of the series that has materialized in projects such as Grito de Guerra (War Cry), Guía de Poniente (The Westeros Guide) and for the second screen Vive Poniente (Live Westeros). All with the objective of fostering the loyalty of a big community of fans and customers with more than 180.000 followers on its Facebook page (facebook.com/juegodetronos).
According to Berni Melero, Chief of Multimedia Communications at CANAL+: “Television as entertainment has not been only content consumption for years. At CANAL+ we do our best to offer and share with our customers and fans immersive experiences about the contents we have and they enjoy so much. Thanks to Transmedia Storyteller and their technology, this year the experience Game of Tronos in CANAL+ will be much more personalized and participative”
robert | February 26, 2014 ‐ No Comments
Krishna is a technology and story pioneer. He runs Bellyfeel, a leading provider of information and consultancy for traditional media producers who want to expand their audience and increase profits using new devices and platforms.
As a creator, producer and consultant of Transmedia I draw heavily on the media that got me excited when I was a kid. Movies, TV, Music and Books.
Some of those things don’t exist anymore; VHS, vinyl, cassette – but the feelings are still there.
Analogue vs Digital
Those analogue and physical formats were big influences on me and I can’t help thinking that digital is not as rewarding – so you have to try harder as a creator.
As a kid, I would salivate like a starving dog in anticipation of the next 7” single from the Buzzcocks or the Clash. After a Saturday trip to town to buy the shiny black disc in a full colour sleeve, I would be vibrating with pleasure on the bus home. Then the joy of popping on the turntable, dropping the needle and experiencing the music.
I would pore over the sleeve for clues as to what my heroes were saying with this latest slice of pop culture. And getting a bit of ‘behind the scenes’ was really exciting – if you could hear the band talking in the intro or outro, or even a distant ‘1 2 3 4 !’ – this was a massive bonus.
Instant Pop Culture
Digital is all about QUICK – NOW – NO WAITING. That’s not good or bad – it’s just how it is – but instant doesn’t mean better.
And digital gives many more options for creativity and business. But more options doesn’t mean better quality experiences.
In a way, you now have a bigger palette for storytelling but the paint is thinner and the picture comes out not as bright or vivid. (Which is ironic because digital is perceived as being brighter and clearer than analogue media.)
So how do you evoke the kinds of feelings that get today’s audience hooked and wanting more, more, more.
Ignite Your Audience With These Transmedia Tactics
I have been creating Digital, Interactive and Transmedia stories for 15 years now. In that time I have picked up a few useful tricks. Here are 3 Transmedia Tactics you can use to ensure your audience gets very excited about your story experience.
1 – Fan Allegiance.
In the old days this meant joining a fan club by mail or reading the weeklies to keep track of their progress – today you can make it easy for fans to connect and take them along with you (and your story) at very low cost, on a global scale.
Do you know the famous Transmedia campaign “Why So Serious?”. This campaign for the “Dark Knight” film had over 10 million fans all following and joining in the actions around the world. Make your content meaningful to your audience and aim for 10 million global fans!
2 – Anticipation.
Once the audience is hooked in, make them wait a while! Then reward them – this will get them chomping at the bit. Don’t make it so easy for the audience – if your story is good enough it will be worth waiting for.
There was a very early interactive web campaign for the 1997 film “The Game” which actually refused entry to lots of people. This was a completely counter intuitive tactic at the time but a genius one IMHO. Make the audience wait… make them wait and then give them…
3 – WOW! Moments.
Although digital storytelling relies on systems for delivery – when telling stories you have to break out of the systems every now and then to create big WOW! Moments.
Remember a film called “The Crying Game”? Watch this film if you don’t know what a WOW! Moment is. Get the audience to expect the unexpected from your story!
These 3 Transmedia Tactics are highly effective in turning your audience into rabid fans – and your audience had better be hot under the collar as the competition for attention is ferocious these days.
Good Luck! And if you have any further ideas on this subject drop them in the comments.
robert | February 21, 2014 ‐ No Comments
Links to explore:
http://chikara101.com (requires login)
robert | February 2, 2014 ‐ No Comments
Using Conducttr you can create professional branded content without writing a line of code. We had no involvement in Chipotle’s “Farmed and Dangerous” but it’s a good example of what you could do if you were to combine your creativity with our multi-platform interactive storytelling tool.
In the video tutorial below you’ll learn how to:
- create an interactive SMS quiz with no coding
- publish a YouTube web series
- publish blog posts and Tweets in sync with the web series
robert | January 15, 2014 ‐ No Comments
En este podcast conoceremos a Laura Piaggio, una de los autores del documental colaborativo transmedia Cuentos de Viejos, que toma forma de coproducción hispano-colombiana. Mediante la participación del público, el proyecto se encarga de recoger la memoria oral de nuestros abuelos, utilizando diferentes plataformas para crear un relato colectivo.
robert | January 7, 2014 ‐ No Comments
robert | November 14, 2013 ‐ No Comments
robert | November 8, 2013 ‐ No Comments
Here’s my issues with transmedia hackathons:
- the emphasis is on the race to end, not the journey
- 48hrs is far too long
- some hackers come with products pre-built
- who is anyone to judge the results?
Transmedia hackthons, storyhacks, transmediaJams – the bringing together of arts and technical people have so far all suffered by framing the event as a competition rather than a collaboration. In fact the bigger the prize for the winning team, so the less collaborative everything becomes: all the teams rush off to their corner space and secretively work away… individually each person doing what they usually do.
In our Interactive Narratives meetup group, one of our members, who likes to be known as Hot Coffee (don’t ask!) wanted to see how feasible it would be to create a transmedia experience in 1 hr that had to be demonstrated to the group in 10mins or under.
The results were an incredible insight. After an hour we performed our 10min experience and it generated so much conversation, feedback and discussion that we could have gone away for another 2 hrs to further develop the idea, came back to re-perform it and then listened to another hour of feedback and so on. And that’s just on a 10min experience!
So here’s how I’d organize a storyjam:
- no more late nights. Let’s work smarter rather than longer.
- no more judges. You be the judge of your own work and use the feedback from the other participants as a yardstick
- no more prizes. The learning experience is the reward.
- Goal: create a transmedia experience that lasts 10mins or under.
Day 1 (assume Saturday)
- 9am: form teams (more below) and explain the day
- 10am: teams collaborate on designing a 10min experience
- 11am: first two teams perform their experience. If the experience isn’t ready then they don’t get to talk about it – this is the penalty for not doing something. With 2 teams, the performance will take 30mins (ok its 20mins but I’m keeping the maths simple), add 30mins per team for feedback – that’s 2hrs gone!
- 1pm: lunch
- 2pm: second two teams perform their experience.
- 4pm: spend another hour re-designing the experiences
- 5pm: Go home and get some rest or go to a coffee shop. I don’t recommend alcohol – drinking lots of water is much better for getting the neurons firing (and your liver will thank you).
Day 2 (assume Sunday)
- 9am:if the teams have been in groups of teams (see note about too many teams) then mix up the groups so everyone gets to see something new. Now the first two teams re-perform their experience. Get feedback. I expect that the feedback might be shorter on the reiteration but let’s stick with 30mins each
- noon: lunch
- 1pm: second teams re-perform
- 3pm: All back together to share learning from the past two days.
- 4pm: Go home.
Nowhere in this format does anyone perform their experience to someone not creating their own experience: there are no voyeurs or passengers. The emphasis on the two days is collaborative, peer-to-peer learning by doing.
Some might argue that 10mins isn’t long enough but you will be incredibly surprised and delighted at how rewarding it is to focus on, say, one beat of what might be a larger piece.
Team size should be 2-4 people ideally with different skills (writer, artist, actor, coder, producer, interactive, no known skills etc.)
If there are more than 4 teams then group into sets of teams.
It’s quite important that someone in the group has a concept they’d like to champion. Therefore it’s best for everyone with an idea to pitch it to the group and have people join that group to pursue it. Anyone that can’t find one other person to support their idea will need to either go home or join a team with an idea they can support – not hang around moaning or trying to subvert the group they join.
*** to be continued ***
robert | October 29, 2013 ‐ No Comments
What drew my attention was the story structure and the navigation system – it’s very engaging and allows the audience to explore the story and character threads as their interest takes them.
Check out the project at http://unlinear.tv/
robert | October 28, 2013 ‐ No Comments
Presentation given to filmmakers in Poland on Oct 25th 2013