Tuesday, 27 November 2012

My Prezi Account

Prezi account:
http://prezi.com/user/chloepleass/

Prezi presentation for Contextual Studies:
http://prezi.com/b5ilxzzlc34r/how-has-transmedia-storytelling-contributed-to-the-development-of-player-immersion-in-game-worlds/

How has transmedia storytelling contributed to the development of player immersion in game worlds? on Prezi

Presentation Research - Capturing attention

12:35 BA4 P1, BA4 P2, BA4 P2: Contextual Studies, BA5 P2: Contextual Studies No comments

Controversial statement - Jane McGonigal:

Excitement - Joshua Davis:

Clip from Joshua Davis talk at Offf 09 from Ricardo Melo on Vimeo.

Humour - Ze Frank:

Research on how to give an effective presentation

12:21 BA4 P1, BA4 P2, BA4 P2: Contextual Studies, BA5 P2: Contextual Studies 1 comment

http://presentationexpressions.com/

As part of my research into giving an effective presentation for my CS project, I came across an incredibly helpful website set up by two public speakers, called Carl Kwan and Liam Lusk. Their tips were incredibly helpful and they have definitely taught me some tips I will remember for a very long time.

About Presentation Expressions:

"Both of us wanted to start this website because we saw a lack of quality presentations learning material, especially for non-Native English speakers. Since our backgrounds are in teaching English, business communications, and presentations in Korea, setting up PresentationExpressions.com was a natural step.

Here, you’ll find loads of information to help you give a presentation, whether you are a Native English speaker or not. Just look around at all the material and videos and we’re sure you’ll find something helpful. If not, feel free to ask questions or request something. We’ll do our best to help."
- http://presentationexpressions.com/about

Carl Kwan

Liam Lusk

Skills:
http://presentationexpressions.com/category/learn/presentation-skills

Content:
http://presentationexpressions.com/category/learn/presentation-content-learn

Expressions:
http://presentationexpressions.com/category/learn/presentation-expressions

Design:
http://presentationexpressions.com/category/learn/presentation-design-learn

Transmedia Storytelling: What is it?

22:42 BA4 P2, BA4 P2: Contextual Studies, BA5 P2: Contextual Studies No comments

http://www.psfk.com/2011/04/transmedia-storytelling-what-is-it.html

http://www.technologyreview.com/news/401760/transmedia-storytelling/

A Beginner's Guide To Transmedia

22:42 BA4 P2, BA4 P2: Contextual Studies, BA5 P2: Contextual Studies No comments

Points covered in this video: - Examples of current transmedia products: 'Tron', 'Firefly'

Spreadable Media and Convergence Culture

22:42 BA4 P2, BA4 P2: Contextual Studies, BA5 P2: Contextual Studies No comments

Points covered in this video: - Convergence Culture = a complex shift in the way media is created, distributed and viewed. This shift has been created due to a combination of changes in media and society. Media companies are giving way to citizen journalism/UGC. - Jenkins coins the term 'spreadable media' includes the most powerful aspect of media convergence, which the phrase 'viral media' disregards - the ability of an individual to create, intentionally modify and distribute (should they choose to do so) - Jenkins: "if it doesn't spread, it's dead!" - indicates that if media isn't distributed, it dies.

Henry Jenkins: Participatory Culture and Civic Engagement

21:58 BA4 P2, BA4 P2: Contextual Studies, BA5 P2: Contextual Studies No comments

http://webpages.scu.edu/ftp/Estines/alj-participatory-culture.jpg

Points covered in this video: - P.C describes a world where we take media in our own hands - we create media, share media, etc - Jenkins dates P.C back to the middle of the 19th century where there was a printing press movement where kids created publications, handling type-down and sending them across a national network = amateur press movement paved the way for the sci-fi fandom, 20th century amateur radio, punk rock, indie movements and the rise of digital media. - Communities shared ideas amongst themselves with media. - Followed some practices of a 'folk culture'. In a folk culture, media is produced NOT to make money, but to share with each other. People learn from others, they gather to these hubs. - Participatory Culture = a social mode of production.

Convergence Culture LOST in the Journey

21:48 BA4 P2, BA4 P2: Contextual Studies No comments

Points covered in this video: - The emergence of 'Lost's convergence culture grew simultaneously as the foundations of Web 2.0 became more accessible. - Lost fans set up wikis, blogs and podcasts - these digital outlets allowed clues to be shared and vast historical, scientific, cultural illusions could be explored. - Fans connected online in order to figure out the mysteries of the island - Fans became engaged with back stories and alternative plots that may OR may not ever be addressed during the broadcasts of the episodes. - Henry Jenkins' book 'Convergence Culture' states that "regardless of what develops beyond the original art, the quality and the dynamics of the story drives everything else." For Lost fans, what kept them engaged and invested in the series was the journey. How ever, the characters and the plots created the passion.

Transmedia, Convergence Culture and Immersive Story Telling

21:02 BA4 P2, BA4 P2: Contextual Studies, BA5 P2: Contextual Studies No comments

This video covers: - Transmedia - gives audience a 'complete' experience. - 'The Matrix' - consumer needs to enter all forms of media to enjoy full story. - Transmedia Storytelling - retains consumers and attracts new audiences through various mediums. - Convergence Culture - represents an expanded opportunity. - Immersive Storytelling - Popular Transmedia Platforms i.e. film, books, games

Transmedia Storytelling - Henry Jenkins

20:46 BA4 P2, BA4 P2: Contextual Studies, BA5 P2: Contextual Studies No comments

Points covered in this video: Participatory Culture: - Participatory culture is collaborating together, in order to achieve something. - Engagement - Using popular culture to one's advantage? - Web 2.0 has allowed 68% of the public to participate with UGC. - Participatory culture is driven by Web 2.0. Transmedia Storytelling: - Elements are integral (all made at the same time) - transmedia storytelling depends on a synergy. - Each medium plays it's own role = important when managers/directors etc are choosing particular mediums, in order to achieve the desired effect. - Convergence in the media - Transmedia elements shown through companies' decisions to integrate film footage etc with video games. - Jenkins described "there's no single urtext/source where one can gain all the information needed to comprehend the matrix universe" = meaning there's no one medium that should be favoured over the other. - Often transmedia storytelling is based on individual characters and 1 story, but worlds, worlds that can hold lots of charactesr, stories etc - Closed narratives = traditional - audience leave the story behind etc, whereas with transmedia storytelling, we use participatory culture to become involved in different ways - the narratives are open-ended. - Transmedia storytelling has changed with technology - also participation of fans has changed. Companies adopt forms of marketing through synergy. - Transmedia storytelling is merchandise, collectables serve well in terms of experiencing the world - content spurs creatibity. Audience are no longer passively taking in info, but creating, with Web 2.0 i.e. YouTube. Henry Jenkins' key concepts: - Needs continuity - world contains continence but open - Drillability - Immersion - World building - Seriality - Subjectivity - Performance

Transmedia Storytelling

15:44 BA4 P2, BA5 P2: Contextual Studies No comments

http://deanashour.files.wordpress.com/2011/04/transmedia-storytelling.jpg

The Current Definition:

"Transmedia storytelling (also known as transmedia narrative or multiplatform storytelling) is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies, and is not to be confused with traditional cross-platformmedia franchises,^[1] sequels or adaptations."

http://en.wikipedia.org/wiki/Transmedia_storytelling

"The current and straightest-forwardest (not a word) definition of transmedia is when you take a single story or storyworld and break it apart like hard toffee so that each of its pieces can live across multiple formats. This definition features little nuance, but hey, fuck it. That’s why this list exists — to gather up the foamy bubbles of nuance and slurp them into our greedy info-hungry mouths."

http://terribleminds.com/ramble/2012/04/17/25-things-you-should-know-about-transmedia-storytelling/

Convergence Culture:

"Henry Jenkins defines (2006, p.21) transmedia storytelling as ‘the art of world making, to fully experience any fictional world. Consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels, comparing notes with each other via online discussion groups, and collaborating to ensure that everyone who invests time and effort will come away with a richer entertainment experience’.

Bennett (2004) suggests that the way we watch television content is the same, while how and where we can watch it has revolutionised. This suggestion links with Jenkins’ definition, meaning the audience must search further to enrich them with the content. This form of convergence culture can be delivered through mobile phone applications, social networking sites, video blogs and podcast commentaries to name but a few. Cultural convergence attempts to provide extra content and narrative to evolve a series further than the allocated broadcasting time, this hopefully gains further consumer loyalty and enjoyment."

http://deanashour.wordpress.com/

Past/Future:

Transmedia: Telling the Story through Narrative Content, Games and Real-World Adventures was hosted by Henry Jenkins (author of Convergence Culture: Where Old and New Media Collide), Jeff Gomez (President and CEO, Starlight Runner Entertainment ), Kim Moses (Executive Producer/Director, Sander/Moses Productions and Slam Internet), Gale Anne Hurd (Executive Producer, The Walking Dead), Danny Bilson (Executive Vice President of Core Games, THQ, Inc. ), and Tim Kring (Transmedia Storyteller, Conspiracy for Good, Heroes).

"Next to speak was Danny Bilson, who started by answering Jenkins’ question, “So what can we do now that we couldn’t 10 years ago?” Danny set the stage for his answer by introducing the concept of a “central hub” which is a product’s main medium. For instance, THQ makes video games, so the video game is their central hub, and all other media are “appendages,” such as books, movies, comics, etc. Back 10 years ago, if a proposed project was not within the “central hub,” then it would be very difficult to get investors to invest in these “non-core competency” projects. Now, however, these projects can be promoted through marketing and partnerships. “The marketers all understand that it’s free marketing because . . . all our transmedia opportunities are partnerships, where we don’t license our property, and we don’t exchange money.” Danny used THQ’s Red Faction franchise as an example.Red Faction: Armageddon, a video game that serves as a central hub for the franchise, is being released in at the end of May, with a movie airing on SYFY the Saturday night following the game’s launch. Danny asserts this is true transmedia because “the movie tells the story that exists between the game from two years ago [Red Faction: Guerilla], and the game coming out this year.” Danny continues, “one thing about transmedia is that you never want to repeat [a] story, the idea is to extend fiction across medias, and tell it in different ways.” One of THQ’s creative prime directives is to determine what the fans would want, and what the fans would think is cool. To do that, you have to be a fan of your own project."

http://www.argn.com/2011/04/transmedia_experts_tell_the_story_to_nabshow_attendees/

Tree Versus Forest:

"Stories are generally a single tree, sometimes grown by a single practitioner. But for me, the transmedia storyworld is far more fertile and compelling when seen as an entire forest growing up together at the same time. The forest for me is the perfect metaphor for transmedia — I live in the woods and I see how all these trees grow together, how some find light and others fail, how it’s all one big organic collision of life that thrives on organized chaos. You can certainly admire the forest for its individual pieces (“What a lovely elm,” or, “Those two squirrels seem to be having crazy methamphetamine sex on top of that turtle-shaped rock”), but you can also gaze out and see a much larger picture: the ecosystem. Therein lies the beauty and elegance — and yes, squirrel-banging chaos — of transmedia storytelling."

http://terribleminds.com/ramble/2012/04/17/25-things-you-should-know-about-transmedia-storytelling/

Let The Audience Drive The Dune Buggy:

"Here’s why transmedia storytellers need to put their auteur egos off to the side — because the audience needs to control a chunk of the action. This can be overt, where the audience is literally allowed control (or even provenance) over the narrative, and their input changes the entire experience. This can be covert, where audience investment helps to shape the output if not directly change it. But the audience must be part of the feedback loop — and in this increasing age of interactivity, the audience wants their slice."

http://terribleminds.com/ramble/2012/04/17/25-things-you-should-know-about-transmedia-storytelling/

Examples:

"Hawken: A year and a half ago no one, beyond the team of nine working on the game, had ever heard the name. But by the end of this year, if all goes to plan, Hawken the game will launch in the eye of a transmedia storm that includes a video web series, a graphic novel, feature film and plans for an animated television show, action figures, a novel and perhaps, one day, lunch boxes."

http://www.polygon.com/gaming/2012/8/6/3223193/hawken-from-indie-computer-game-to-transmedia-powerhouse

Notes from this point:

The creation of Broadband internet, coupled with the introduction of ‘Web 2.0’ in 2005, the developments made relating to media online can only be described as phenomenal.

The transition from ‘Web 1.0’ to ‘Web 2.0’ has allowed freedom of speech and the ability to express one’s self through the creation of social networking websites such as ‘Facebook’ and ‘Twitter’, thus evolving the internet itself greatly. Mill’s theory on ‘Web 2.0’ suggests how it has bought about developments in media online through personalisation, collaboration, information-sharing and community interaction online - something that was never available during the time of ‘Web 1.0’ where only the internet website developer and publisher had control over what content was shared on their website and a great deal of social interaction took place through talking in-person, using telephones and writing letters.
As a result, this reflects how developments in the media, particularly the web, has resulted in re-proposing and the re-invention of social media interaction.
Therefore, one can infer that through the introduction of ‘Web 2.0’, the media online has developed greatly in that users are no longer passively consuming, but, actively interacting with applications on the web. This idea links well to Tapscott and Williams ‘Wikinomics’ theory, posing the idea of a user becoming a ‘pro-sumer’ in that they now have the opportunity to produce and customise features using the internet, for a completely different media form.
An interesting example to reinforce Tapscott and Williams’ theory is the publics’ ability to customise features for video and computer games by creating and developing User-Generated-Content. ‘Little Big Planet’ is a video game that can be used to support this factor, as the public have created over two million levels using the internet and the video game features, therefore, this reflects how the convergence of internet and video games is altering the relationship between audience and game developer through allowing the user a wide variety of freedom through the introduction of User-Generated-Content. The new media technologies exemplify convergence, networking and many-to-many communication, which will enable others to share knowledge, reinvent media interaction, and even change the role between consumer and producer.

Transmedia Storytelling through ARGs:

"To date the most common format for these kinds of multiplatform projects has been the alternate reality game (ARG), from seminal campaigns for The Blair Witch Project and A.I. right through to more recent examples such as Dexterand The Dark Knight. What's so appealing about ARGs is that they can be planned to the smallest detail well in advance, every eventuality can be mapped and locked down, and there's not a lot of room for the audience to wander off track and do something unexpected.

There are some other factors that make ARGs the default go-to transmedia format. There's an assumption that audiences who come for a story will only stay for more story, that any narrative should be accompanied by another, supporting narrative; and that deeper insight can only be delivered and digested in a storytelling format. That's why ARGs are often engineered to be exposition factories, pumping out backstory to placate this apparent desire we all have for more mythos."

http://www.wired.co.uk/news/archive/2012-08/29/transmedia-args

The Future of Storytelling:

"Some key findings from the study include:

Transmedia is more than media-shifting. Eighty-two percent of participants wanted more mobile apps that would complement, not just replicate, their TV viewing experiences.
The real world is a platform, too. When asked to develop a new way of interacting with stories, 52% of participants treated the real world as another “platform,” incorporating networked real-world objects, augmented reality, 3D projected environments, and other technologies that bridge the divide between digital and physical.
Audiences crave more control. Seventy-nine percent suggested interactions that would allow them to alter a storyline by influencing a character’s decisions or by becoming a character themselves.
Traditional notions of authorship are changing. The real-time, connected culture of the Web is converting storytelling to a more participatory art; 93% of participants expressed interest in submitting possible story ideas to producers, and a whopping 2/3 said they’d be willing to help fund stories they’re interested in (e.g., on a platform like Kickstarter)"

http://latd.com/2012/08/15/what-audiences-want-study-uncovers-possible-futures-for-storytelling/

Transmedia Storytelling in Video Games today:

http://www.hollywoodreporter.com/news/video-games-role-transmedia-focus-169439

http://marclougee.com/2011/03/29/transmedia-narrative-games-storytelling/