transmediac-blog

[transmediac-blog]

Practical Thaumaturgy - Distribution Platforms

There are a huge lot of distribution platforms out their for many varieties of creative projects, but unfortunately still not enough focused on transmedia storytelling. As the medium (or mesh of mediums) develops one of the biggest pitfalls has been a way of actually monetizing a project. In many cases creators have had to gain a budget and monetize through indirect means, like:

Advertising within their experience (which severely damages their story-world integrity).

Having their transmedia story exist as a marketing device for a commercial product (chew any sci-fi gum recently?).

Having their transmedia story exist as an addition to a more easily monetized product, e.g. a feature film.

This being said, I hope some time in the future platforms do arise that can crack the code of successful distribution and monetization of transmedia projects that are created purely for artistic purposes outside of marketing, i.e. the way films/games/books are distributed and recognised. Until that code is cracked (if it hasn't already been done), here are some distributions platforms that currently exist that are making positive strides for the future of transmedia storytelling.

Racontr

Racontr is a hosting platform for transmedia experiences, enabling you to create a 'project' with varying content that acts somewhat similar to a player, allowing you to embed your experience on any website or social network. Somewhat similar to prezi http://prezi.com/ a similar platform that's more focused on presentations but still offers hosting of varying media.

Pricing is free for any Racontr account with up to 500mb of hosted content but goes up in monthly subscription prices for higher amounts of storage. As the projects are viewed for free and from what current projects indicate are somewhat small in scope, the possibility for monetization would come purely from exposure and advertising. It is also limited in that the absolute entirety of your project would be viewed through your racontr player, so broader transmedia experiences may find the platform lacking. It is still a very big step in the right direction, especially considering some of the ties it has made, recently partnering with the tribeca film festival in their 'hackathon' to get creators playing with the platform and making some story focused transmedia experiences. It will be interesting to see how it develops once it leaves beta.

https://beta.racontr.com/

Origami Engine

Origami Engine is an iPad e-magazine publishing toolkit, but with a huge amount of cross-media capabilities included within the platform, before describing how it is revolutionary within it's field, watch the video below for an example of what can be done with the platform:

http://www.youtube.com/watch?v=Ih_4tYRXc-g

As you can see Origami Engine can create immersive and interactive experiences within the confines of an e-magazine, but as a distribution platform it also shines. Origami Engine is split into three sub-programs that address each distinct aspect of publishing an e-magazine.

Origami Design is a desktop application for Mac that allows you to develop and design every aspect of your interactive e-magazine experience, you can include text, audio, video and interactive content and seamlessly blend them without any buffering, application frames, branding or distraction in your final product.

Origami Exchange is their cloud based application that allows all of your design information to be accessible by any of your creative team, so regardless of location edits can be made. Origami exchange also manages the cloud integration for purchasers of the magazine, so if a customer purchases your magazine they may access their copy from multiple devices with their iTunes ID and may download it again if they lose it.

Origami View is the iPad viewer app that allows you to view your magazine as it will appear in it's final stage, you can use the viewer at any point through the design process, allowing you to test and make changes on the fly. The viewer also acts as a viewer and marketplace for readers should you decide to distribute your e-magazine through it, however if you wish to independently publish your final product yourself, you can publish your e-magazine as an app on the iTunes store. Readers can then pay a one off fee or a subscription, whichever you define, to have your branded app downloaded onto their iPad, from which it will automatically download new issues of the magazine that will be viewable offline at any time.

http://origamiengine.com/

Whilst not exclusively transmedia experience platforms, I'm going to make a mention of a couple of the current film focused distribution platforms, because it is currently a very over saturated and as a result highly competitive and innovative field:

Indiereign

Despite the big players in digital film distribution (google, iTunes, netflix, amazon, vimeo etc.) holding the market, Indiereign is fast establishing itself as the leader in the minor league of independent film. With a well designed, curated, genre sorted marketplace for selling films, being able to purchase the film through the sharable embedded trailer player and pay what you want (with a minimum) pricing for consumers, it has ticked all the boxes for independent film.

https://www.indiereign.com/sellvideos

https://www.indiereign.com/

VHX

VHX adopts many of the features that indiereign does for film, but has a number of extras that with some repurposing could be very interesting for more transmedia focused projects, even though they still would need a film at their core in order to work with the platform. VHX encourages creators to get on board with their platform at the very start of their production, making a project website hosted on VHX and maintain extra content to keep your fans updated, with hosted production blogs, social media integration, mailing lists and hosting additional clips/news/pics from production. Upon your film's completion, it has a few features that are tailored to the few important steps before your film is released, including:

Sending secure screeners: Sending time limited, watermarked screening of your finished film to festivals/family/press/devoted super supporters, whoever deserves an early look at your film before release.

Packaging your film: Sell your film as a deluxe edition downloadable package, with whatever additional content you wish, think extra video files, subtitles, anything you'd expect on a deluxe dvd release but digital instead (I'm hoping this includes audio files and pdf's…)

Talk to your audience: Keep in touch with your fans with built in messaging services.

Sell preorders: Reward your most devoted fans with first access and premiere tickets.

Create coupons and promos: Sell and track coupon codes.

I can see exactly what the platform has in mind for some of these features, i.e. giving digital film distribution something it currently doesn't have, behind the scenes 'filmmaker's process' special features. But there is so much potential for these features to be repurposed for an ARG type transmedia experience.

E.g. You set up your website as if it exists within your story world instead of just a promotional page. Instead of maintaining a production blog you have in character story consistent blogs, with social media interaction with characters, extra clips/news/pics from inside your story world.

Sending secure screeners to fans who have cracked your puzzles/engaged with the characters/asked the right story questions through the built in messaging service.

When packaging your film to sell, instead of behind the scenes footage you include short films from the perspective of individual characters, audio of phone conversations they have, pdf's of letters they send to each other.

Using the preorders/coupon codes to control the attendance to in character live theatre events to extend the story world and promote the release. All without needing coders/web designers to create this experience for you.

Hopefully something like that could be achieved with this platform. If it could, it's not only a great way of hacking the platform for more transmedia purposes but it also enables a way of monetizing a project without it veering into commercial advertising.

https://www.vhx.tv/creators

https://www.vhx.tv/

Seed&Spark

Seed&Spark is a smaller and newer entry to the digital film distribution game but with a slightly different focus again, dubbing itself as an integrated crowd-funding & digital distribution platform, encouraging filmmakers to use their platform during their preproduction crowd-funding stage and (either via seed&spark or externally through something like kickstarter) host their crowd-funding on seed&spark so that fans can be directly engaged with the platform the film will eventually be released on. In addition to this, seed&spark has a feature that makes it unique amongst other platforms, when you as a fan contribute to the crowd-funding of a film on seed&spark during it's development stage, in addition to whatever benefits and promised incentives the creator provides you for your pledge, you also earn a currency called 'sparks' that can be spent instead of money on watching finished films, providing an incentive for fans to pay for projects in their much needed development stage whilst still getting to see already finished projects without paying more. It's a very elegant idea that hopefully more platforms outside of just film will pick up on.

http://www.seedandspark.com/

Assemble

Assemble has a similar idea to what VHX offers in terms of creating a website and web presence all hosted through the assemble platform, though it differs in a few categories:

It allows you to fully integrate final sales and distribution of your film through whatever external distribution platform you wish as well as selling through Assemble, so if your film gains steam in your production stage and is big enough to warrant distributing on one of the bigger players like Netflix or iTunes, you can do so whilst still having traffic flow through your website.

It also has a huge lot of features for creating and managing your own independent screenings, including screening management tools, poster builders, integrated screening license sales to movie theatres and allowing fans to demand screenings in their areas so that you can tailor where you host screenings to where your fans are located.

At the moment it is currently in the development stage and you can sign up for an invite to be one of the first films to use the platform.

https://assemble.me/

https://assemble.me/features

[transmediac-blog]

This right here does have a very essential point about the present state of media entertainment, though I believe the term is still very necessary to facilitate discussion around media concepts, especially among creators, and as a term to identify and promote to producers to actually care about creating diverse, engaging and reactionary content.

Sharing a blog post I wrote on my professional site. If you follow the link, you can read a very interesting comment that someone left in response:

Transmedia—telling stories across multiple platforms and formats like YouTube, Twitter, Facebook, blogs and other social media—is very trendy right now. You’ve got the success of shows like The Lizzie Bennett Diaries and East Los High, in which fans got to interact with characters in “real time,” making them not only consumers of the content but story tellers as well.

As a relative newbie to transmedia, I’ve been feeling psyched about the possibilities, particularly when it comes to storytelling for non-profits. Think of the possibilities for engaging donors and volunteers, bringing organizations’ missions to life in a visceral way.

But when a friend of mine shared my obsession with her 17-year-old daughter, this was her response:

“Transmedia is a word for old people.”

What?? Aside from making me feel about 100 years old, what did my friend’s daughter mean by that?

My friend’s daughter explained that young people don’t need a word to describe transmedia because this is how they live every day. The narrative of their own lives unfolds across different social media platforms and they consciously create identities for themselves depending on where, what, how and with whom they share information.

So a younger person may have one persona on Tumblr, another for Facebook (where their parents and grandparents hang out), yet another for Instagram, and so forth. And they take in information in the same way: watching a series on Hulu while IM’ing a friend or scrolling through animated gifs on Tumblr or watching reaction videos on YouTube. The idea that there is just one way to consume content is just flat-out incomprehensible to them.

So that’s why transmedia is a word for old people—if you’re older than age 30 or so, you grew up in a broadcast world where you watched whatever the networks or cable channels chose to beam at you with no easy way to beam back at them or communicate with like-minded folks consuming the same content (though some folks tried their best—I’m looking at you, old-school Star Trek fans).

Of course, nowadays nearly everyone consumes content the way younger people do. For example, the NY Times recently redesigned their news pagers so that comments appear to the right of the original article, giving both equal visual weight on the page. But while older consumers are “doing” transmedia, they don’t live it the way younger folks do.

You can see this playing out in organizations because the primary decision makers—senior executives and CEOs—generally Don’t Get It. They still think of marketing and communications as a one way street. They treat social media channels as PR tickers. Most importantly, they still think of people as audiences rather than as co-collaborators in creating a shared experience—which is how younger folks see themselves.

In order for companies and non-profits to succeed, they need to reevaluate where and how they tell their organizational stories. It’s not just from a narrative perspective. For example, something that drives me crazy is how brands promote themselves on Tumblr. Some companies like General Electric and IBM are producing cool gifs and graphics, but they never share anyone else’s content. The whole ethos of Tumblr revolves around endless sharing, so why aren’t companies participating in that? It isn’t just about what you put out there, it’s about what you pass along.

As content creators, we need to make the case for true multichannel, multidirectional storytelling that is collaborative and gives folks a chance to share their own stories in turn. This isn’t a nice-to-have opportunity, it’s an absolute must-be-done to survive. Remember my friend’s daughter. She’s not waiting around for us to “get it.”

[transmediac-blog]

Very deserving accolades.

Tearaway won three awards at the #BAFTAGames Awards ceremony. Here they are being interviewed after accepting the award for Artistic Achievement. 

Check out all of the winners from the BAFTA Games Awards 2014!

[transmediac-blog]

WiSee

WiSee is a novel interaction interface that leverages ongoing wireless transmissions in the environment (e.g., WiFi) to enable whole-home sensing and recognition of human gestures. Since wireless signals do not require line-of-sight and can traverse through walls, WiSee can enable whole-home gesture recognition using few wireless sources (e.g., a Wi-Fi router and a few mobile devices in the living room). WiSee is the first wireless system that can identify gestures in line-of-sight, non-line-of-sight, and through-the-wall scenarios. Unlike other gesture recognition systems like Kinect, Leap Motion or MYO, WiSee requires neither an infrastructure of cameras nor user instrumentation of devices. We implement a proof-of-concept prototype of WiSee and evaluate it in both an office environment and a two-bedroom apartment. Our results show that WiSee can identify and classify a set of nine gestures with an average accuracy of 94%.

[transmediac-blog]

Amazing.

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Tearaway.

Media Molecule, the game development studio behind the Little Big Planet franchise, released a game last November for the PS Vita called Tearaway. I know this isn't news to many but I only just recently got my hands on it to give it a play and I thought I would write a bit about it, considering it ticks so many transmedia boxes in some amazing ways.

In Tearaway you control a little paper crafted messenger called Iota/Atoi (depending on your choice of gender) on a quest through a beautifully designed paper craft world to take a unique message to the "face in the sun", i.e. You, the player. You, the player, are introduced as a character at the beginning of the game in this fashion, as explained by saying there is a tear in Iota/Atoi's world, that you, in your omnipresence, can look into and affect the game world, utilising the many features of the PS Vita to express this.

Already before even going outside of the console, the game employs some innovative transmedia concepts. A few very worth mentioning here:

As seen above and below, the front and rear cameras of the PS Vita are used to great effect to immerse you in the game world and to allow you influence it.

The front and rear touch screens allow you to "reach into" the world to manipulate the game.

Using the front touch screen you can also create virtual paper craft objects to introduce into the game world.

And my favourite and the most unique feature of the game; by collecting photos using Iota/Atoi's trusty camera of in-game objects and creatures, you can collect paper craft blueprints to create real paper models of them.

All of these features already embrace strong transmedia values but it's Media Molecule's treatment of online presence and their understanding of the power of community through social media that makes Tearaway standout. It's expected as they are no strangers to building a dedicated community-minded fan-base, with the level creating community behind Little Big Planet: LPB.me still going strong.

Tearaway's online presence breaks new ground again, connecting with social media through Facebook, Twitter and Tumblr sharing user generated in-game photos, inviting players who have collected their paper craft blueprints to create them, take photos and tweet them so that they can be collected on the Tearaway Pinterest and also using a similar platform to Little Big Planet with a Tearaway.me page to collect all of the user generated content in one place.

What results is a transmedia franchise with a very firm focus on and respect for the community of fans the game creates.

Lastly, I think it is worth mentioning the way the game treats gender;

Despite Iota (the male protagonist) being used for the majority of game advertisements, both protagonists are given equal standing in terms of validity and importance, to the point of even having reversible front cover art to display whichever character you fancy.

Also, in a move that I haven't seen in any other interactive art form; because You are referred as a character throughout the game, you are politely asked when you begin the game "Would you prefer to be addressed as a male or female?". Note that it does not ask "Are you male or Female?" but asks how you would like to be referred. It seems small but I think it speaks leagues about the respect Media Molecule has for all their players, including transgender players.

This is a testament to how progressive Media Molecule is as a company, in an industry that is certainly lacking. Thankfully that aspect is also being firmly recognised, with their Studio Director Siobhan Reddy being named Australian Woman of the Year last year.

All in all, Tearaway is a game that on top of all of it's innovations is easily the most essential game to own for the PS Vita. Not only is it the only game that actually implements all of it's features, but also it still remains fun and engaging after many hours of gameplay.

[transmediac-blog]

I'll be zineing it up this year with a stall. Come along one and all!

(via Sticky Institute ZINE FAIR - Festival Of The Photocopier 2014)

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An amazing sign of what the future holds for creative collaboration.

Episode #1 // HITRECORD ON TV [x]

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We’re in the early days of transmedia, the veritable Wild West; in fifty years, when transmedia storytellers have figured out what works and what doesn’t, and certain formal structures have solidified, we’ll look back on this era as a crude one, much as early 1900s cinema appears to us today.

Zachary Wigon

This week’s Racking Focus looks at Cinemax’s ‘Banshee’ as the show tries out a new style of transmedia storytelling.

(via futureoffilm)

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David Cronenberg in partnership with Toronto International Film Festival and the CFC Media Lab has created a transmedia web project called Body/Mind/Change. David Cronenberg is most known for his strange science fiction horror films, most notably Videodrome and The Fly. Body/Mind/Change is an equally visceral, disturbing science fiction horror experience in which you engage with a simulation to generate an artificial intelligence companion tailored to your personality.

Along with the online experience Body/Mind/Change has also extended outwards in alternate reality game style; articles have been written in real entertainment magazines, claiming the reporter for the magazine has been taken on a tour of the Body/Mind/Change labs (Link). It's also revealed at the end of the web simulation that if you come to the real address of the fictional Body/Mind/Change labs in January, with the serial number given in the simulation, that you will be able to receive your own physical A.I. POD to take home with you.

The simulation itself is also a very interesting mesh of multiple media forms. meshing video footage with web interactivity and a curiously disturbing twitter integrated component. It's an excellent example of transmedia done well and I urge you to check it out, all the simulations are available online here: http://www.bodymindchange.ca But I will stress that there is some adult content in it so it's not for the faint hearted.

Links:

Body/Mind/Change

Article in Filmmaker Magazine on the BMC Labs

ARGN Feature on Body Mind Change

CFC Media Lab

Toronto International Film Festival

David Cronenberg

Videodrome

The Fly

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Practical Thaumaturgy - Transmedia Documentary Storytelling.

Merry Christmas everyone!

Transmedia Documentary Storytelling.

Above is a presentation on how you can implement transmedia storytelling as it relates to non-fiction works, in particular journalism. I find it hugely exciting and inspiring to see the news not only taken out of the hands of big networks and newspapers but also to see it being explored in new engaging ways.

I hope everyone's gifts and parties were fruitful and positive. I got craft beer and Virconium by M. John Harrison so I'm super happy.

[transmediac-blog]

Procrasti-nation.

I could never form a nation, for the above titled reason; what I can muster up the drive to do however is to keep this blog updated with content that is insightful, substantial and most importantly, regular. So as a first venture on that, albeit a bit of a departure from transmedia, I'm posting up a bit of abstract, stream of consciousness writing I've done just now to keep myself creatively motivated, enjoy!

That one distinct moment, where you swallow and feel as if your soul rushes down your throat; your eyes following close behind to see what would tempt it to depart. From there everything festers in that sinking feeling, fermenting like the beer you washed it down with. The gap closes between your inner and outer selves, but not completely; their meeting would be a violent and unsettling one. Your ears sink next, tracing the 'hums' that descend, listening to the broken fridge in your stomach and you're still falling, I'm still falling. Unsure of tenses and perspectives but still we pressed/will press/are pressing on together. Trivially recording and archiving out of terror, for death and memory failing us.

I opt for optimism, though it may be curiosity; watching the thousands of tiny bubbles rise in my glass, breaking the surface, knowing billions of yeast and bacteria surround each bubble, knowing the inebriation we feel comes from an understanding, a love and commitment to letting those billions of tiny souls enter and live in our bodies. Maybe that's why you/I feel your/my soul sink as we drink/breathe/wake; it sinks with the billions of souls that enter to die or be brought to life in our microcosms. More than individual, we are a forest, I am a planet, you are a habitat; and the kingdom that inhabits breathes life into and out.

Death and memory are natural illusions; experience and perception is unique for every one of us. Every one of us is made up of billions of individual ones, those billions of ones are born and die throughout life, many will live on after our bodies die. Degrading, fermenting, until our individual every-ones are spread far and wide; so that we are a planet, I am a galaxy, you are a universe.

I'm hugely intrigued by bacteria and fermentation processes especially when it comes to our relationship with the tiny organisms in our bodies. So you can see my inspiration there, but particularly through an amazing book called The Art of Fermentation by Sandor Ellix Katz, which not only an amazing guide for creating fermented food products but is also an incredible anecdotal guide on food culture/history/ethics as it relates to traditional fermented foods.

I'll be exploring a bit of that concept in a later Platform Bazaar post on Food; a medium not traditionally viewed as 'media' alongside things like film and literature. Which I find intriguing as it has been proven to not only be a medium that can evoke amazing new sensory perceptions of a culture, fictional or real, but can also deepen a story experience as well. It has even been applied to one of the successful media franchises to date, Game of Thrones in their transmedia promotional experience The Maester's Path. The link is a video run down of what The Maester's Path entailed and is worth watching to see how transmedia can really skyrocket hype around a product, but the food aspect appears at 1:52.

As I said before, I apologise for the slow start in content on this blog but I promise this time there is a lot of content coming. Thanks for reading/following :).

[transmediac-blog]

Patropolis - Prof. Hasselt's Story.

As response to Creative Task #6 of The Future of Storytelling MOOC. I am creating a location based story in the world of a speculative fantasy project I'm currently working on, set mostly in the fictional city state of Patropolis, one of the most powerful and prosperous hubs of the Empire. I will further introduce the world and concepts behind it in time but just to get a feel for it; it's heavily inspired by the works and worlds created by the authors H.P. Lovecraft, China Mieville and George Orwell. Also hugely inspired by ancient Greek and Mesopotamian mythology, Russian political history and a dash of Indiana Jones.

Where this location based story begins is from the perspective of Prof. Grigori Heinrich Hasselt, the head of the Archaeology faculty of The University of Patropolis. Prof. Hasselt is on the trail of an immense discovery that will redefine his field, but if you are familiar with Lovecraftian and Orwellian tales, you'll know that pursuits of knowledge and insight like this can end disastrously for those involved.

This story will be told through various location based story elements; centred around the audience/players finding wooden chests, filled with manilla envelopes with letters, props and various other elements inside to further the plot and follow the trail of Prof. Hasselt's research. Each set of envelopes will be found at locations throughout my home town of Melbourne, Australia; locations chosen to represent the fictional places of Patropolis.

Each envelope will also have printed on the outside of it a QR code, which if the QR code link is followed it will correspond to a GPS coordinate of where the next envelope is located (the code on the image above is simply a test coordinate, there is nothing hidden there, so don't go searching yet...)

Also printed under the QR code on each envelope will be the twitter hash tag #patropolis, so I may do a few things through social media with the project;

A: Stimulate/track conversation and engagement around the project.

B: Provide links to the electronic versions of the content of the envelopes after enough have discovered and followed the trail; so that people outside of Melbourne can see them and so that anyone who finds the later envelopes can be filled in on the story so far.

C: So that the audience may interact with @ProfHasselt through his occasional twitter correspondence, to find out more about his story and maybe even gain enough clues to find some other hidden goodies that will not be revealed initially…

While I had planned to get this project up and running within a week of the StoryMOOC creative task going up, it grew in scope quite substantially so I plan on working on it for a while longer and launching it when it is ready. But so that you don't leave empty handed, for those of you taking the time to read this, here is a mockup of the first part of the journey, a letter from Prof. Hasselt, which once launched will hidden in envelopes and dispersed all around Melbourne;

https://drive.google.com/file/d/0B2M1i6jQ66opSnI5bXZiVmlqbzA/edit?usp=sharing

^ PDF for easier reading.

https://iversity.org/courses/the-future-of-storytelling

https://twitter.com/transmediac

https://twitter.com/ProfHasselt

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My belated answer to Creative Task 2 of 'The Future of Storytelling' StoryMOOC.

https://iversity.org/courses/the-future-of-storytelling

http://www.imdb.com/title/tt1796960/

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My answer to Creative Task 4 of the online course 'The Future of Storytelling'

The task description: Take a camera, be it you mobile phone, a webcam, … , and introduce yourself to the other StoryMOOCers, telling us who you are, where you are from and most importantly: which works inspired your interest in storytelling most up to now. Pick out 1-3 works of art, literature, film, TV, game, a website or else and tell us what’s so special about it that you think it might help inspire somebody else anywhere on this planet.

The Future of Storytelling: iversity.org/courses/the-future-of-storytelling

Bear 71: bear71.nfb.ca

Habibi: habibibook.com

Transmediac: transmediac.tumblr.com twitter.com/transmediac

Music by 'Acrasia': acrasiamusic.bandcamp.com soundcloud.com/jack-rowland

[transmediac-blog]

S. - JJ Abrams and Doug Dorst

Just recently JJ Abrams and Doug Dorst teamed up on a project to create a book that is absolutely full to the brim with transmedia practices but in a much more tactile way than a lot of transmedia projects we've seen so far. It is entitled S. but as you open it from it's wrapping it reveals the book within, Ship of Theseus, the 19th and final novel of an author called VM Straka, which has been translated with copious footnotes by someone called FX Caldeira, both ficional characters created by JJ Abrams and Doug Dorst.

The further footnotes introduce more characters making their mark on Ship of Theseus as it passes between library borrows, even more elements of story are introduced as you find between these pages newspaper clippings, postcards, maps and various slips of paper exchanged between all of these characters.

I call it a transmedia project, some may argue against it as it is at it's core a physical novel, but the way it is constructed combines so many elements of print media, graphic design and props to create a rich intertwining story that weaves it's way around the traditional literature at it's core. I won't try to explain it much further than that, for a little bit more info check out this review in the guardian (but I would advise to scroll down and watch the short video first)

http://www.theguardian.com/books/2013/nov/13/s-jj-abrams-doug-dorst-review

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Amazing works combining neuroscience and human physiology with digital games/art.

This amazing piece of art, created by artist Lisa Park, allows her to manipulate water using her mind and a specialized headset that helps transform her brain activity into streams of data. Park used the EEG headset to monitor the waves of her brain as well as eye movements and transformed...