Bank Run Is A Mobile-Activated Transmedia Storytelling Experience
Not amazing shows how compromise can be a real problem in this area.
Thursday, 5 August 2010
interesting examples of transmedia story projects
http://www.mobilebehavior.com/2010/01/25/bank-run-is-a-mobile-activated-transmedia-storytelling-experience/
Creating a story world -inanimate Alice and interesting idea
http://www.inanimatealice.com/
Stumbled across this whilst surfing the web. Gives a really interesting take on a transmedial narrative. The author uses term born digital to describe his story and I think there is something in that.
I really like the way he uses images and music , film etc to create an impression of a world. I feel its something I'd like to try and do with the SEER!!
Transmedia story telling how to begin
Just read a very interesting blog by Robert Pattern about Transmedia storytelling where he once again states the importance of story world creation when creating a Transmedia narrative. In fact he puts puts story world creation in front of character narrative when looking to encourage audience participation. He also raises questions about how much of this story world is real and how much fiction.
This chimes with something that I was thinking last night about the SEER and the world she lives in. I realize that it is the creation of the "Heath " that is as important as the creation of SEER. If the heath is a real place that people can explore then the seer can become a truly transmedial story with audience participation driving the story!!!
I have started to work on this idea of creating the "Heath" with Kris my son and sound guy. Creating a virtual world in sound is one possible way forward. The idea of podcasts of the heath pirate radio station that can be down loaded by people accessing the sight, creating this idea of an area. Possible video tour of area !!! I am not sure but these are the questions that I am beginning to ask. Transmedia is more than simply telling a story across different media platforms it seems to be more the creation of a world within which different stories can be told and within which different media platforms provide access to that world.
Wednesday, 4 August 2010
Just picked this up from a social network marketing blog and I think it succintly provides a strategy for using socail networking within the story development process:
http://www.wallblog.co.uk/2010/06/29/transmedia-tv-programme-making-tips/
I will be using this as a road map for the development of the seer.
http://www.wallblog.co.uk/2010/06/29/transmedia-tv-programme-making-tips/
I will be using this as a road map for the development of the seer.
Telling a story through social media
Really interesting blog on using social media to tell your own story. It’s tied into personal branding on the web. It impacts on my work in two ones. One is developing my own personal brand on social network sights. What is my brand , and what does that mean. The other is using social networks to develop the SEER brand.
Key tips suggested includes using behind the sences shots – giving people an inside look at what you are doing , for the seer this really means looking at the development of the project. Script/art work / film and publishing , each step needs to be included, documented and recorded and posted on line.
So everybody who becomes involved must accept that their picture will be posted on the face book page. Links to their own sights.
Me.
Kris
Chris
Julian
Ken
Courtney
Ryan
Jordan
Dorret
Jamie ?
Steps organise photo shot of ken at work!
Telling a story on line using social media includes characterization.
What social networks are you using? Where will the SEER be and why?
· the channels the seer uses
· the language the seer use
· the seer profile data
· the photos the Seer publishs of herself and others
· the Seer sinterests, pastimes, and the topics you focus on, including links and other content you promote
· your frequency and depth of public engagement with others
· the places you like to visit or meet others
THE PLOT:
The plot to the story is the SEER daily updates as regards what is happening to her. Where she is going and what she is doing day to day.
Perheps this is something that Courtny can do , also perhaps Kris could complete Big D ( in fact can all the boys offer something here)!
So for you as an individual trying to build a personal brand, your plotline is your news: what happens every day, and what it means to you. If you have multiple plotlines (reflecting different facets of your life), those events may have a range of impacts on your life. Which parts you choose to communicate, and the ways in which you communicate them, is up to you as the storyteller.
narrative piece:
…[N]arrative is the way you tell stories. It’s the glue that ties your characters to the plot events in your story. As well as elements like scene setting, narrative includes description, so we’ll deal with these aspects together.
You are the key narrator in your own personal branding story, though other characters may have a part in narrating from time to time (for example, a guest blogger narrates part of your brand story while you’re on vacation, or away at a conference).
Since you’re the narrator, the way you tell your story will be driven largely by your character. The channels you choose, and how effectively you use them to narrate your story, will also depend on your character.
Key tips suggested includes using behind the sences shots – giving people an inside look at what you are doing , for the seer this really means looking at the development of the project. Script/art work / film and publishing , each step needs to be included, documented and recorded and posted on line.
So everybody who becomes involved must accept that their picture will be posted on the face book page. Links to their own sights.
Me.
Kris
Chris
Julian
Ken
Courtney
Ryan
Jordan
Dorret
Jamie ?
Steps organise photo shot of ken at work!
Telling a story on line using social media includes characterization.
What social networks are you using? Where will the SEER be and why?
· the channels the seer uses
· the language the seer use
· the seer profile data
· the photos the Seer publishs of herself and others
· the Seer sinterests, pastimes, and the topics you focus on, including links and other content you promote
· your frequency and depth of public engagement with others
· the places you like to visit or meet others
THE PLOT:
The plot to the story is the SEER daily updates as regards what is happening to her. Where she is going and what she is doing day to day.
Perheps this is something that Courtny can do , also perhaps Kris could complete Big D ( in fact can all the boys offer something here)!
So for you as an individual trying to build a personal brand, your plotline is your news: what happens every day, and what it means to you. If you have multiple plotlines (reflecting different facets of your life), those events may have a range of impacts on your life. Which parts you choose to communicate, and the ways in which you communicate them, is up to you as the storyteller.
narrative piece:
…[N]arrative is the way you tell stories. It’s the glue that ties your characters to the plot events in your story. As well as elements like scene setting, narrative includes description, so we’ll deal with these aspects together.
You are the key narrator in your own personal branding story, though other characters may have a part in narrating from time to time (for example, a guest blogger narrates part of your brand story while you’re on vacation, or away at a conference).
Since you’re the narrator, the way you tell your story will be driven largely by your character. The channels you choose, and how effectively you use them to narrate your story, will also depend on your character.
Wednesday, 30 June 2010
Questions to be considered in Seer Project
When thinking about the Seer Project 3 questions need to be considered:
- What am I trying to comunicate
- What am I trying to get the audience to do
- How am I trying to make the audience feel
These are questions which are suggested by Patrick Curry in Cross Media Communications p.12. The question that occurs to me is when dealing with a transmedial project does each element have a different set of answers to these questsions? Right now the anwser to that question seems to be yes! I need to look deeper into this as SEER develops and perheps answer each of these questions each time I undertake the development of a particular medium arm.
The second stratagey discussed within this section is that of understanding your core audience. In the case of the SEER the core audience is the inner city urban teen. I intend to create a character rooted in a recognizable reality. In part this will be achieved using location , vocablery , and appropariate media resources.
Interactivity
There is always a conversation between creator/narrative and consumer/audience, what makes interactive media different is the impact that the audience can have on the narrative. It is this audience impact / participation that is key to the interactive narrative. Within transmedial story telling does not simply request audience response she/he must demand it. From the consumer/audience prospective that demand must appear as an invitation that simply cannot be refused. one of the constant questions for the transmedia story teller must then be how to create an invitation to participate which the consumer feels completed to take up.
Interactivity can be thought of as a conversation between creator and consumer , during which the creator invites the consumer to become involved. Individuals such as Greg Roach (www.gregroachonline.com) CEO of HyperBole Studio, and creators of successful games like the x-file game and Quantum Gate compeared this interactive conversation to the act of writing a sentence in a language like English which uses grammatical structure of a subject object and verb. As an example he used a simple interactive scene in which you give a character a gun . the interactive "sentence" would be : He ( the subject) can shoot (the verb) another Character ( the object). Digital Story Telling .Part 2 Page 54.
Although I agree that interactivity is a conversation between creator and consumer , I feel that the model put forward by Greg Roach is aimed at the Interactive Game designer and not the transmedial story teller. I would suggest that the conversation between the transmedial story teller and consumer is far more suttle. It seems to me that I want to follow the route taken by the Wachowski Brothers and Matrix, a trail of bread crumbs throughout the narrative drawing the consumer in and inviting them to explore other elements of the adventure in other meida.
Interactivity can be thought of as a conversation between creator and consumer , during which the creator invites the consumer to become involved. Individuals such as Greg Roach (www.gregroachonline.com) CEO of HyperBole Studio, and creators of successful games like the x-file game and Quantum Gate compeared this interactive conversation to the act of writing a sentence in a language like English which uses grammatical structure of a subject object and verb. As an example he used a simple interactive scene in which you give a character a gun . the interactive "sentence" would be : He ( the subject) can shoot (the verb) another Character ( the object). Digital Story Telling .Part 2 Page 54.
Although I agree that interactivity is a conversation between creator and consumer , I feel that the model put forward by Greg Roach is aimed at the Interactive Game designer and not the transmedial story teller. I would suggest that the conversation between the transmedial story teller and consumer is far more suttle. It seems to me that I want to follow the route taken by the Wachowski Brothers and Matrix, a trail of bread crumbs throughout the narrative drawing the consumer in and inviting them to explore other elements of the adventure in other meida.
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