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Forbes -- Analyst Says Video Game Advertising Will Double by 2016

'...like billboards in the real world, billboards, or equivalents, in video games simply are not avoidable. This makes them a particularly powerful form of advertising as no technology will be invented that will render these type of ads obsolete. There will undoubtedly be pushback from gamers who don’t want their favorite titles cluttered with products, but I do not believe that it will cause them to actually forego a purchase of an anticipated title. The biggest problem for in-game ads presents itself in the form of genre. While billboard in modern day NYC in Grand Theft Auto might fit right in with the environment, how do you plug a product on an alien planet in the year 2553 in Halo, or do the same in a fictional medieval world filled with dragons and orcs in Skyrim? Answer me that, and you’ll have yourself a job in advertising within the week.'

gaming advertising narrativeenvironments
november 2011 by adamcrowe

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Gamasutra -- Designing Better Levels Through Human Survival Instincts

'...many of our concepts of what are "pleasurable" in a spatial environment trace back to our own survival instincts. Architecture is for creating pleasure by creating spaces that feel safe, while level design is about creating spaces that create a sense of danger that is pleasurable to battle and overcome. If to architects the house was the machine for living, the game level should be the machine for living, dying, and creating tension by exploiting everything in between. #Prospect/Refuge: Prospect Space describes a spatial condition that is wide open, within which the occupant is exposed to potential enemies. The idea that this type of space is unpleasant originates in ancient times when humans would have to cross open wilderness to reach food, shelter, and safety, facing the threat of predators and the elements. The fear of these places is called agoraphobia. The people that suffer from this disorder feel uncomfortable in open spaces with few places to hide.'

evolutionarypsychology space stage narrativeenvironments gamedesign possibilityspace probabilityspace agoraphobia from delicious
july 2011 by adamcrowe

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Wired UK -- JK Rowling's 'Pottermore' details revealed: Harry Potter e-books and more

'In addition to being an e-book store for the seven fantasy novels, Pottermore is also an online immersive experience for which Rowling has written extensive new material (more than 18,000 new words so far) about characters, places and objects in the series. The platform features a host of newly commissioned illustrations and interactive gaming elements. When you register, you get to choose a magic username and then travel through different parts of the book, joining Hogwarts in the virtual world just as Harry does in the books. In each chapter there are interactive "moments". In the first book there are 44 of these moments. One such example includes Diagon Alley where you can enter Gringots (the wizard bank) and pick up 175 galleons—the in-game currency. You can then use this to buy items on your shopping list from shops such as Wiseacre's Wizarding Equipment. ...you can challenge fellow students to wizard duels or by successfully mixing potions in order to win points for you house.'

transmedia narrativeenvironments virtualworlds mmorpg harrypotter from delicious
june 2011 by adamcrowe

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Adweek -- Axe Embellishes Your Relationship Status on Facebook

'Axe has come up with a mildly amusing Facebook app for young men that generates a fake relationship-status update to make it appear as though the user is involved with hundreds of women at the same time. When friends click on the update link, it takes them to an Axe Facebook app page, where they can install the custom relationship app themselves.' -- Dragnets

advertising facebook narrativeenvironments axe socialproof performance bots replicants from delicious
may 2011 by adamcrowe

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Dubberly Design Office -- Ability-centered Design: From Static to Adaptive Worlds

'A new order of systems is emerging, that adapt to the worlds in which they play a part. Although the form they take varies widely from example to example, these systems all have in common some means for: #1. “perceiving” two or more states of the environment in which they are embedded; #2. creating, based on these perceptions, a “model” of the environment around them; and #3. adapting, based on this model, in a fashion to best meet the performance objectives of the system in the face of a changing environment. This need not be a one-shot event—it can occur continuously over time. Dynamically co-constructed adaptive worlds give both creators and consumers the ability to design or improvise new activities that honor specific abilities as they emerge. In an adaptive world, objects and processes modify themselves based on information gleaned from people, either through sensing or explicit input.' -- Quadrant: Carbon—Silicon [Operator—Machine]; Doing—Understanding [Diegetic—Non-diegetic?]

design narrativeobjects narrativeenvironments narrativeacts holodeck everyware emergence feedback feedforward extradiegesis metadiegesis probabilityspace possibilityspace reflexivity from delicious
march 2011 by adamcrowe

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Near Future Laboratory -- Lab Coats In Hollywood

Kirby: 'I introduce the term ‘diegetic prototypes’ to account for the ways in which cinematic depictions of future technologies demonstrate to large public audiences a technology’s need, viability and benevolence. Entertainment producers create diegetic prototypes by influencing dialogue, plot rationalizations, character interactions and narrative structure. These technologies only exist in the fictional world but they exist as fully functioning objects in that world. The essay builds upon previous work on the notion of prototypes as ‘performative artefacts’. The performative aspects of prototypes are especially evident in diegetic prototypes because a film’s narrative structure contextualizes technologies within the social sphere. Technological objects in cinema are at once both completely artificial—all aspects of their depiction are controlled in production—and normalized within the text as practical objects that function properly and which people actually use as everyday objects.'

productnarratives narrativeobjects liminalobjects objects narrativeenvironments transmedia storytelling sciencefiction prototyping design diegesis from delicious
february 2011 by adamcrowe

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BBH Labs -- St John Ambulance: The Difference

'...we had an individual in the audience volunteer to help, then run down the cinema aisle and disappear behind the curtains at the side of the screen, before you see her appear in the film itself. Getting the timing and her eyeline (so it felt the two actresses were actually looking at each other and talking to each other) right as she made her way through several hundred people and onto the stage, then behind the curtain to reappear a beat later in the film… that was the nerve wrecking part. This hadn’t been done before. It worked perfectly, the actress, Joanna, nailed it. Even reducing one corner of the cinema audience to gasp and point. For Joanna she was only half way through her performance – she had to reappear on the other side [audience side] of the curtains just as her onscreen character leaves, after saving the little girl. This was the real feelgood moment – as she appeared, the entire audience broke into spontaneous applause.'

advertising theatre fourthwall liminality narrativeenvironments from delicious
november 2010 by adamcrowe

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YouTube -- Secret Cinema presents Blade Runner

DON'T WALK. DON'T WALK. CROSS NOW. CROSS NOW.

bladerunner reenactment flashmobs performance improv liveart theatre narrativeenvironments from delicious
november 2010 by adamcrowe

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Gamepocalypse Now -- Foursquare

'I'm pretty sure that Foursquare + Fantasy = Larping [Live-action RP]. So far, most of the real world games (boktai, treasure world, etc.) have been more trouble than they have been worth. Geocaching is different, though, I think because there is a real cache when you get there, not a virtual one. Why go through real space to get to a virtual treasure?'

foursquare foraging treasurehunt roleplay narrativeenvironments augmentationistsvsimmersionists from delicious
july 2010 by adamcrowe

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Christy Dena -- Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments

'...theories such as “hypertextuality” and “transfictionality” are problematised in light of transmedia phenomena. Since the phenomenon involves both narrative and game modes, a new methodology is introduced to study their presence at various stages of design: transmodality. The employment of actual world in transmedia practices is discussed in light of Aristotle’s “dramatic unities” and through the theory of “deictic shift theory”. Through explorations of research questions from media, narrative and game studies as well as semiotics, this thesis aims to explain how transmedia fictions are a peculiar practice that demands its own research area and methodologies.'

transmedia narrativearchitecture poetics storytelling narrativeobjects liminalobjects objects narrativeenvironments diegesis ChristyDena
may 2010 by adamcrowe

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Lost Garden -- Three False Constraints

Mystery (play) <---> Puzzle (game) 'Conclusion: #Human emotions are simple to evoke with games. Make multiplayer games. #Authorial intent is expressed through systems of rules. Create rules that empower players to co-create meaningful content. #Reaching larger numbers of players is easy. Integrate games into the player's everyday life.' -- 'Comment: yanamal: ...if you remove all these "arbitrary" constraints at once, you don't really get game design anymore - you get throwing a bunch of people together and telling them to play with the contents of their pockets...' -- Comment: Danc: 'If you really want a player to gain a deeply meaningful understand of the human condition, you need to put them in a system where they can fail and experiment. ...the act of playing a game [is] a process of learning [how to] effectively manipulate a system. [The question to ask is:] Are the skills I’m learning meaningful to me outside the magic circle?'

gaming ludology readerlywriterly gamedesign experience design possibilityspace narrativeenvironments improvisation simulation emergence play casualgaming ambientgaming thegamingofeverydaylife improv
december 2009 by adamcrowe

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Guardian -- X marks the future of game narrative?

'Here's the interesting bit. On page 13 of the online comic, it's possible to click on a computer monitor in one of the frames. This plunges you into a sort of old school text adventure, which borrows the first line from classic of the genre, Zork. This is followed by another mini-game based around assembling genetic codes. Apparently, X will eventually be a cross-platform retail game release, which will include consoles. It will also turn up as a printed graphic novel and an online community-driven ARG. Somehow, they will all align and interact. "We've introduced a world inside a graphic novel that people can come and explore at their own pace, go as deep down that rabbit hole as they want, and join and interact with a community of other people all doing the same thing. Now, once you have a global universe evolving, and the player's experience unfolds within that universe, you have some real potential for complementary, parallel stories."'

storytelling gaming virtualworlds narrativearchitecture narrativeenvironments narrativeobjects liminalobjects objects ARG alternativerealitygaming immersion epistolary comics transmedia
november 2009 by adamcrowe

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IKEA Heights

'Ikea Heights is a melodrama shot entirely in the Burbank California Ikea Store without the store knowing.'

IKEA storytelling narrativeenvironments narrativeactivism sitcom
september 2009 by adamcrowe

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Easy to Assemble

'Easy to Assemble follows Illeana Douglas as she quits her Hollywood career and goes to work at IKEA Burbank in an attempt at a ‘normal life.’ However your past is often more difficult to leave behind than you think. Especially when Hollywood craziness with its gossip columnists, stalkers and celebrity friends follows you. Can Illeana assimilate in "civilian" life and prove that "art is where you make it?"'

IKEA storytelling brandedcontent narrativeenvironments sitcom
september 2009 by adamcrowe

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Los Angeles Times -- IKEA's Burbank store and the guerrillas in housewares

'Brand-wise, "IKEA Heights" is absolutely harmless. In fact, Seger and his friends have essentially done for free what "Easy to Assemble" cost IKEA $50,000 to do. And done it better. As of Sept. 7, "IKEA Heights" had been downloaded 14,168 times. And yet, "IKEA Heights" has the company smiling through gritted teeth. "I thought it was very playful and fun and complimentary to our brand," Liss says. Nonetheless, she says carefully, "We didn't give [Seger] permission. People need to ask." Permission, alas, ruins it. Virality -- that must-see, must-share quality that marketers so desperately want to capture -- requires some transgression, Seger says, some stunt."Every Web job I've ever had," Seger says, "they've said, 'OK, let's manufacture a viral video.' You can't do it because so many elements of luck and charm go into making something that doesn't feel like you're selling something."'

storytelling narrativeactivism narrativeenvironments narrativeobjects objects sitcom IKEA thesims
september 2009 by adamcrowe

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Los Angeles Times -- Beijing loves IKEA—but not for shopping

'Welcome to IKEA Beijing, where the atmosphere is more theme park than store. Every weekend, thousands of looky-loos pour into the massive showroom to use the displays. Some hop into bed, slide under the covers and sneak a nap; others bring cameras and pose with the decor. Families while away the afternoon in the store for no other reason than to enjoy the air conditioning. Visitors can't seem to resist novelties most Americans take for granted, such as free soda refills and ample seating. Purchasing anything at Yi Jia, as the store is called here, can seem like an afterthought. "We want to be modern. I think IKEA stands for a kind of lifestyle. People don't necessarily want to buy it, but they want to at least experience it." -- A group of university graduates recently donned caps and gowns for photographs by the checkout aisles as if to capture the moment they matriculated to the middle class.'

china IKEA experience sampling consumerism shopping narrativeobjects objects narrativeenvironments simulation windowshopping themepark retail publics
september 2009 by adamcrowe

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The New York Observer -- Brand-tastic! Ben Silverman Might Look Back to Find Ad Models for the Future

'Consider Illeana Douglas’ Easy to Assemble, a Web show written and produced by Ms. Douglas, who stars as an Ikea worker trying to escape showbiz. Ikea signed on as a sponsor, and marketing head Magnus Gustafsson joined to oversee story lines and plot outlines. Yet, for the most part, they let Ms. Douglas do as she pleased, even poking a little fun at the store’s quirkiness. When she first told her friends she was going to make a Web show sponsored by Ikea, “it was very, very controversial with people,” she told The Observer. “People had no idea why I was doing this and asking why would I do this instead of doing a movie. I said, ‘Well, you know, Ikea is the 400th most viewed Web site in the world.’ Who cares about NBC and CBS, I said, if you can get them to show your show in an IKEA.”'

storytelling entertainment narrativeenvironments productnarratives IKEA brandedcontent content
september 2009 by adamcrowe

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Wired -- Real-Life WoW for the Chuck E. Cheese Set

'MagiQuest, a real-life World of Warcraft... Invented by Creative Kingdoms, a company that designs theme-park attractions, the game is built around infrared sensors embedded in the wands. "It's like having a joystick that controls a 20,000-square-foot facility." After paying $14.99 for a wand and a $10-per-hour activation fee, players begin a scavenger hunt for Tolkienesque paintings, sculptures, and installations scattered throughout the hotel. Video kiosks of wizards and maidens dispense clues and track your progress by picking up your unique IR signature. Guides in Elizabethan garb roam the grounds dispensing advice. Victories and discoveries trigger up to 150 visual and audio effects, and frantic kids drag weary parents to and fro until they catch them all. The online version lets players accrue rewards and "powers" that carry over to the physical locations. ... ...since its 2005 launch, the franchise has expanded to 15 US cities and two locales in Japan.' -- UK, please.

themepark gaming fantasy roleplay worldofwarcraft narrativeenvironments
september 2009 by adamcrowe

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Gamasutra -- The History and Theory of Sandbox Gameplay

'"Sandbox" sometimes challenges traditional narrative, but it always puts something new in its place. ...[it] transforms predetermined narrative into dynamic, responsive narrative. ...the sandbox game distinguished itself by making the responses more significant and meaningful. -- ...a common challenge in sandbox design: player commitment to open story. ...that game design is so fun in itself that, if properly packaged, it can well be reinterpreted as gameplay itself. -- Sandbox play is essentially amoral/non-moral, in the sense that real action is often governed by the hypothetical: "What happens if I run this guy over?" ...until GTAIV, the PC personality was something of a narrative problem; the hero was a bi-polar thug for whom nothing was truly out of character. Such a character is not terribly interesting... With GTAIV, however the scarred warrior turned ironical and embittered anarchist justifies much better the peculiar range of action of a GTA hero.'

* meta gaming play gameplay gamedesign design sandbox possibilityspace space narrativeenvironments virtualworlds simulation simcity spore GTAIV puppetry augmentationistsvsimmersionists storytelling framing probabilityspace narrativearchitecture causality contiguity continuity morality realism psychology motivation narrativeacts emergence existentialism
august 2009 by adamcrowe

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YouTube -- Real-time interaction with augmented reality mascots

'...in-house mascot, and other virtual characters interact in real-time with a little girl and other physical obstacles in a new seamless augmented playground environment.' -- Is this a prototype for an AR version of 'The Young Lady's Illustrated Primer'? Awesome!

augmentedreality immersion avatars interaction design narrativeenvironments
july 2009 by adamcrowe

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BBC Radio 4 -- Front Row: Adam Curtis Interview: It Felt Like a Kiss

AUDIO CONTAINS SPOILERS -- 'Adam Curtis discusses how the show affects its audience and whether it aims to shock: "We wanted to push it because we were trying to make a political point. People are really hungry for experience these days, to actually experience things themselves, it's part of the individualism of our time. ...let's see how far we can take people, frighten them, but then make them reflect on what that fear is really about... the idea that the individual is the central supreme object of devotion of our time might not be the whole truth... its about how you turn 'stuff' into stories and that's how history is made. ...maybe you will stitch it together in different ways yourself and then at the end you turn to having your own experience which is completely fragmentary... ...most people run out screaming."'

reflexivity fear psychology individualism theatre narrativeenvironments narrativeobjects documentaries interviews AdamCurtis
july 2009 by adamcrowe

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Telegraph -- It Felt Like a Kiss in Manchester, review

Video preview inside. 'The hotly-awaited collaboration between Punchdrunk theatre company, documentary-maker Adam Curtis and Damon Albarn revels in a thrill-a-minute visceral excitement. -- ...whatever spurious empowerment you might have felt has evaporated...' -- Where to begin? Just go see it.

reflexivity theatre narrativeenvironments narrativeobjects documentaries AdamCurtis
july 2009 by adamcrowe

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Wired -- Looking into the Past

'Photographers around the world are taking part in a Flickr project that matches images of the past to the reality of the present. Jason E Powell came up with the idea, which has now inspired photographers around the world to research their area by finding old images and superimposing them onto the present-day landscape.'

photography time memory history narrativeenvironments narrativeobjects liminality liminalobjects objects
july 2009 by adamcrowe

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Advertising Age -- How Xbox's Social Strategy Could Change Gaming Forever

"....gamers [will be able to] easily and effectively communicate with friends (both gamers and non-gamers), advocating both the Xbox gaming platform and new games via Facebook mini-feeds and Twitter. The new Xbox additions will allow gamers to easily comment on games they're actively playing and share in-game screen shots with ease. Now thousands of new messages and game images will enter these services daily and in doing so will forever change the way games are marketed." -- Still talking about 'media hubs', I prefer to think of them as 'action stations'.

gaming xbox convergence socialmedia narrativeenvironments narrativeacts statusupdates serviceecologies
june 2009 by adamcrowe

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Guardian -- Charlie Brooker on Adam Curtis' new documentary experience, It Felt Like A Kiss

"I wanted to do a film about what it actually felt like to live through that time...Where you could see the roots of the uncertainties we feel today, the things they did out on the dark fringes of the world that they didn't really notice at the time, which would then come back to haunt us. The way power works in the world is: they tell you stories that make sense of the world. That's what America did after the second world war. It told you wonderful dreamlike stories about the world...And at that same time, you were encouraged to rise up and 'become an individual', which also made the whole idea of America attractive to the rest of the world. But then this very individualism began to corrode it. The uncertainties began in people's minds. Uncertainty about 'what is the point of being an individual?'" -- Forthcoming doc: "the political and cultural ideas that underlie the internet—and the idea that we are all linked in an interconnected web—out of which can come a new form of democracy."

psychology storytelling metanarratives theamericandream america empire power individualism theadvertisedlife documentaries narrativeenvironments memory AdamCurtis
june 2009 by adamcrowe

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BBC -- Adam Curtis: Into the darkness

"It Felt Like a Kiss started life as an experimental film I made for the BBC last year. My aim was to try and find a more involving and emotional way of doing political journalism on TV. I decided to make a film about something that has always fascinated me - how power really works in the world. To show that power is exercised not just through politics and diplomacy - but flows through our feelings and emotions, and shapes the way we think of ourselves and the world." -- Video: "IT FELT LIKE A KISS. When a nation is powerful it tells the world confident stories about the future. The stories can be enchanting or frightening. But they make sense of the world. But when that power begins to ebb, there are no stories any more. You are on your own. And you have no idea what is coming towards you. Now go into the dark."

psychology storytelling metanarratives theamericandream america empire power individualism theadvertisedlife documentaries narrativeenvironments memory AdamCurtis
june 2009 by adamcrowe

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BBC -- Adam Curtis: The introduction to It Felt Like a Kiss

Vid: "The Introduction. In 1945 America's solider fought terrible battles and saw the horror of death camps. In Japan a new weapon killed hundreds of thousands in an instant. The soliders came home and were told they had fought a Good War. They created a new world for their children. Safe from the horrors that humans can do. And protected from their parent's terrifying memories. But as America rose to supreme power in the world, feelings of uncertainty began to break through the fragile surface. The CIA masterminded coups and assassinations across the world to protect America from enemies in the world outside. It was done in secret so the children would never know and get frightened. But as they grew up the children realised it was a dream. It was only a story told to them by those in power. And they would want to break free and just be themselves. They would create their own enchanted world. Only then they would be *alone. And vulnerable to something else. Fear. Now go into the dark."

psychology storytelling metanarratives theamericandream america empire power individualism theadvertisedlife documentaries narrativeenvironments memory AdamCurtis
june 2009 by adamcrowe

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Alice and Kev: The story of being homeless in The Sims 3

"This is an experiment in playing a homeless family in The Sims 3. I created two Sims, moved them in to a place made to look like an abandoned park, removed all of their remaining money, and then attempted to help them survive without taking any job promotions or easy cash routes. I have attempted to tell my experiences with the minimum of embellishment. Everything I describe in here is something that happened in the game. What’s more, a surprising amount of the interesting things in this story were generated by just letting go and watching the Sims’ free will and personality traits take over." -- @Baudrillard The desert of the real estate?

sims homelessness recession america simulation simulacra storytelling productnarratives narrativeenvironments virtualworlds machinima liveart art thegamingofeverydaylife
june 2009 by adamcrowe

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YouTube -- Barclays Bank - Blade Runner Ad (Paxman)

"Why can't I just talk to somebody?!"

advertising bladerunner narrativeenvironments productnarratives automation customerservice
june 2009 by adamcrowe

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YouTube -- Barclays Bank - Blade Runner Ad (Stracey)

"Why can't I just talk to somebody?!"

advertising bladerunner narrativeenvironments productnarratives automation customerservice
june 2009 by adamcrowe

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YouTube -- Barclays Bank - Blade Runner Ad (Webb)

"Why can't I just talk to somebody?!"

advertising bladerunner narrativeenvironments productnarratives automation customerservice
june 2009 by adamcrowe

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First Monday -- Storytelling in new media: The case of alternative reality games 2001–2009

'This paper presents five Alternate Reality Game (ARG) case studies which reveal common features and mechanisms used to attract and retain diverse players, to create task–focused communities and to solve problems collectively. Voluntary, collective problem solving is an intriguing phenomenon wherein disparate individuals work together asynchronously to solve problems together. ARGs also take advantage of the unique features of new media to craft stories that could not be told using other media. -- We suggest that the collective story that emerges during an ARG normally supplants the grand or master narrative (Lyotard, 1984) and allows players to become actors and heroes. ...the goal of these games is not to create an alternate reality, but to create a storyline that infiltrates real life. If the drive to solve collective problems could be yoked to a significant social goal, ARGs could result in collective behavior that does more than market media products.'

agile storytelling alternativerealitygaming collectiveintelligence collaboration narrativeactivism puzzle exogenous metanarratives productnarratives narrativeobjects objects narrativeenvironments augmentationistsvsimmersionists puppetry liminality liminalobjects rabbitholes campfires socialgraph storygraph agencyagency seriousgames cognitivesurplus synaptics #processing #complexity thegamingofeverydaylife
june 2009 by adamcrowe

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Los Angeles Times -- Why Gore Verbinski is developing video games -- and likely not directing 'Bioshock'

Gore Verbinski: "As a filmmaker, I’m absolutely fascinated with the idea that the protagonist is the audience. That mandates a new form of narrative at its core. When we design a game here, my mantra is "gameplay first." We start on a game with the way controlling it feels in your hands. Narrative has to be a byproduct of that in the same way story is a byproduct of character in films. Some of the stuff we’re doing is taking a conventional [first person shooter] experience and tweaking it in a way that hasn't been thought of before. We looked at it from a different angle and changed the experience. All the way on the other side, we're doing big epic narratives that are four quadrant experiences. -- We are a transmedia company at our core. We’re not siloed in the sense of Internet content or gaming or animation or feature film or television. All the heads talk to each other ...just because you can make a movie doesn’t mean you have a good game."

gaming gamedesign entertainment transmedia storytellling narrativeenvironments
june 2009 by adamcrowe

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Beyond The Beyond -- The New Television mutates analog television

Area Code... On people being the killer app [via Russell Davies' quotation]: "Computers are better at connecting you to another person than they are at simulating one." -- On ambient gaming: "These are games with computers in them rather than the other way around." -- Notes: Everything is an object, every object is an environment, the act reverses them... -- McLuhan: "The content of a medium is always another medium." -- *through the looking glass*... narrative objects (foreground) narrative environments (background), narrative acts (user/viewer). Shark Runner (Battleships/"it" mechanic) Shark (object) movement (act) generates map (environment) -- Numb3rs: Fake billboards (environment) for fake products (object) = Proof (act). Video game is actually an interface to !RL crypto !app via !distributedcomputing (acts-objects-environment:instance=object(!app) -- Parking Wars on FB: IDEAL-ACTION. Do(act) media(object:environment). The user is the content. Design for the event (instantiation).

* cognitivesurplus do media transmedia entertainment behaviours tv events design gaming ambientgaming mixedreality alternativerealitygaming areacode narrativeobjects objects narrativeenvironments narrativeacts via:russelldavies television
may 2009 by adamcrowe

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Waxy.org -- Meme Scenery

"I had this silly idea to isolate the backgrounds from famous Internet memes, removing all the subjects from every photo or video. Like Jon Haddock's porn sans people, these photos are banal out of context. Only someone familiar with the original memes would sense something's amiss, like the set of a play waiting for the actors to stumble into history."

narrativeenvironments memes
may 2009 by adamcrowe

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New Statesman -- Screen test

'What can’t games do? ... there are certain limitations inherent in the very fabric of an interactive medium, perhaps the most important of which is also the most basic: its lack of inevitability. As the tech-savvy critic and author Steven Poole has argued, “great stories depend for their effect on irreversibility – and this is because life, too, is irreversible. The pity and terror that Aristotle says we feel as spectators to a tragedy are clearly dependent on our apprehension of circumstances that cannot be undone.” Games have only a limited, and often incidental, ability to convey such feelings.' -- Not quite true for mmorpgs.

storytelling games design narrativeenvironments catharsis consequence
may 2009 by adamcrowe

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barcampbughunt

They just twittered a re-enactment of the movie Aliens. Fuckin' A!

twitter narrativeenvironments movies reenactment roleplay storytelling storygraph
may 2009 by adamcrowe

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Guardian -- Clicks for tricks: Twitter's first brothel?

'Since "adult services" have previously managed to use other communications systems -- postal services, telephones, shop windows, email, the web, advertisements in tabloid newspapers -- this shouldn't come as a huge surprise, but brothel stories are probably good for raising your circulation (fnar fnar).' -- Yup. Sell the sizzle not the steak. See 'Big Sister' businessmodel: http://bit.ly/2c3cm

twitter cybersex sex businessmodels storytelling porn roleplay performance narrativeenvironments voyeurism selling experience
april 2009 by adamcrowe

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Omegle -- Talk to strangers!

Rorschach test? See what you say?

internet fun chat conversation civility anonymity mystery serendipity strangers people rorschach psychology narrativeenvironments
march 2009 by adamcrowe

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collision detection -- Teleportation, the last battle, and the Creator talks: How the world ends inside an online game

On solsastalgia: "the homesickness one feels not when one moves away, but when one’s home environment vanishes before one’s eyes." -- "...now that economic hard times are here, more online worlds are dying, and here’s the interesting thing: They’re realizing that they owe it to their long-time players to make it into a sort of event. Game designers are realizing that ending their world in a dramatically satisfying way is actually a very interesting logistical, ludogical, and emotional trick. In essence, we’re slowly seeing the emergence of eschatology as a design challenge."

psychology behaviours games design virtualworlds mmorpg narrativeenvironments eschatology apocalypse emotion emotionalintelligence solsastalgia nostalgia loss death
march 2009 by adamcrowe

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Loading Haiku

"Loading Haiku. Poems released. Under Creative Commons. Take them for loaders."

storytelling narrativeenvironments productnarratives storygraph serviceecologies statusupdates commons IainTait
march 2009 by adamcrowe

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crackunit.com -- Loading Haiku

'Basically it’s a collection of Haiku that I started writing whilst waiting for heavy websites to download (and there’s been a few recently). Then I figured I’d release them all under a Creative Commons License so that people can take them and re-incorporate them into their loading sequences.' -- Clever pre-experience design

storytelling narrativeenvironments productnarratives storygraph serviceecologies statusupdates commons
march 2009 by adamcrowe

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Luke Freeman -- Transmedia Storytelling: The Art of World Building

'...separating the narrative (or fictional world) into kernels (pivotal events/knowledge) and satellites (elaborate events, non-essential to understanding the greater narrative). ...narratives from the fictional worlds are exploited across different media ... strategic gaps in a narrative evoke a delicious sense of ‘uncertainty, mystery, or doubt’ in the audience.” Fan fiction can be conceptualised as the unauthorised extension of these intellectual properties in new directions reflecting desires of the reader to “fill in the gaps” that they see in the commercial narrative (Jenkins 2006)' -- 'Herman (2004) suggest that transmedia narratives are exploited in media-specific ways. For example, a video game will exploit the narrative differently to a book or a movie as well as making different contributions to the fictional world.'

transmedia storytelling narrativeobjects narrativeenvironments narrativeactivism canon fanon additivecomprehension mystery
february 2009 by adamcrowe

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Los Angeles Times -- 'Heroes' hops on to Habbo's virtual world

'NBC is introducing a new spin-off character there named Syn Anders. Though she doesn't appear on "Heroes" itself, she'll be Habbo residents' virtual guide to the series, assigning players with quests and puzzles that mirror the show as it continues into its third season. NBC sees the Web as a way to promote its shows, Andrade said, but also as a way to generate advertising revenue for online content, such as its "Heroes" webisodes.

virtualworlds habbohotel heroes transmedia narrativeenvironments
february 2009 by adamcrowe

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Six to Start -- How We Tell Stories

"Writers are important. When a game’s graphics grow old, and the game mechanics become dated, all that’s left to remember is the story. As designers and writers of games, we all need to set a higher bar for ourselves. And if we can’t do it on videogames because of commercial constraints, then look for other places where you can write. There are so many other possibilities out there for telling stories in new ways, thanks to the web. What we did just scratched the surface."

transmedia storytelling narrativeenvironments writing sixtostart
january 2009 by adamcrowe

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blueful

"You have always been different." -- A nice little hypertext fiction. Clickedy-click. (Actually, you don't click but that's all part of its charm.)

hypertext fiction interactivefiction storytelling narrativeenvironments
january 2009 by adamcrowe

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Twitter / _S_A_R_A_H_

"Self Actuated Residential Automated Habitat"

Eureka sciencefiction tv twitter narrativeobjects narrativeenvironments television
january 2009 by adamcrowe

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The Pirate's Dilemma -- The Network is the Story

"Stories that include their audiences in the creation process become more complex, go off on tangents and create new relationships between the broadcaster and the audience. Giving the audience space to create their own stories within the broadcast story is a great way to create mass media. Instead of creating one story with broad enough appeal for a mass audience to find it palatable, it’s now possible to create a piece of mass media without much of a storyline at all, but instead, the tools the audience needs to create millions of their own, that they in turn can change and narrowcast to their peers. The audience knows what they need from narrowcast entertainment better than the broadcaster does, and they know the target audience for that entertainment (their friends and families) better than the broadcaster ever will. When mass entertainment properties encourage and add value to the networks that grow around them, they make it easier for the network to reciprocate."

storytelling transmedia space narrativeenvironments fanon fandom fanfiction socialmedia openmedia production content sandbox roleplay
january 2009 by adamcrowe

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The Pirate's Dilemma -- Stereomyth

"... the fundamentals of storytelling haven’t changed much with new tech, which is why Joseph Campbell’s work on ancient myth has been so relevant to screenwriting all these years. ...story is not about the media through which you experience it as much as it’s about conveying a sense of meaning and/or truth that audiences can relate to. Screenwriters have always written elaborate back stories to develop character and plot, what’s new is these pieces of writing didn’t have a viable commercial outlet before. ...new tech and new media platforms are making traditional storytelling more complete. Transmedia is allowing content creators to take monomyths to dizzy new heights, to tell monomyhts in stereo. Our method of telling stories is as old as we are, and has worked for different cultures and generations for thousands of years. It’s going to take more than a half-baked twitter feed to change it."

storytelling transmedia narrative exposition epistolary narrativeenvironments socialmedia archetypes hero myth mystery
january 2009 by adamcrowe

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Wired -- Scott Brown on Why Hollywood Needs a New Model for Storytelling

"John McClane, NYC cop, arrives in LA to reconcile with his estranged wife—but we already know all about their failing marriage from the ARG we've been obsessed with for the six months leading up to the movie's release. (McClane's potemkin Tumblr blog was especially illuminating.) With exposition rendered obsolete, we open instead on a Sprite commercial, which transitions seamlessly into furious gunplay. We don't even see McClane in the flesh, but our handsets are buzzing with his real-time thumb-tweets: "in the air duct. smelz like dead trrist in here lol." The film then rewinds to McClane Googling "terrorists" to read up on his adversaries. We then flash-cut to the baddies' POV, which we're familiar with (and sympathetic to) thanks to the addictive Xbox hit Die Hard: Hard Out There for a Terrorist. This is all part of the Action-Happening Plateau, an intensifying mass of things and stuff leading up to the Mymaxtm.... " -- Haha! Check the comments

* storytelling transmedia narrative narrativeacts narrativeenvironments narrativeobjects storygraph poetics
january 2009 by adamcrowe

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THE NEW FRONTIERSMAN

"Better blue than red."

watchmen narrativeobjects narrativeenvironments epistolary storytelling
january 2009 by adamcrowe

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Wikipedia -- Masquerade (book)

"Masquerade is a children’s book, written and painted by Kit Williams, which sparked a worldwide treasure hunt by concealing clues to the location of a jewelled golden hare, created and hidden somewhere in Britain by Williams. It became the inspiration for a genre of books known today as armchair treasure hunts."

storytelling transmedia narrativeenvironments books alternativerealitygaming archetypes treasurehunt
january 2009 by adamcrowe

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YouTube -- My Home 2.0 Trailer

"Check out Lloyd, Yue, and Brian as they tech out the Kaczor's house! " -- More related videos of other families

socialmedia marketing verizon serviceecologies transmedia storytelling entertainment realitytv productnarratives narrativeenvironments narrativeobjects archetypes makeover transformation casestudy campfire
january 2009 by adamcrowe

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Adweek -- Social Media: Building on Tradition

"My Home2.0 is a makeover/reality show that documents tech-challenged families learning to use the screens, gadgets, and tools that FiOS enables. The show provides a platform to unite previously disparate efforts, and to provide a communications stream reflecting the family's stories -- online, on TV and in person -- with FiOS as a subtle superhero. But what's particularly compelling is how we are able to use many of the tactics I already had at my disposal, ranging from local parties to door hangers and gas giveaways, in new and more effective ways. With the promise of being part of a TV show, door hangers have become invitations, not junk mail. Gas buy-downs are transformed into show-themed promotions. Local events become casting calls. The TV show drives new and different conversations between Verizon and customers or prospects -- both in person and online."

socialmedia marketing verizon serviceecologies transmedia storytelling entertainment realitytv productnarratives narrativeenvironments narrativeobjects transformation casestudy campfire
january 2009 by adamcrowe

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hitotoki -- A Narrative Map of London

"We’re looking for short narratives describing pivotal moments of elation, confusion, absurdity, love or grief — or anything in between — inseparably tied to a specific place in London."

storytelling narrative narrativeenvironments psychogeography emotion maps mapping location london history alternativehistory via:russelldavies
january 2009 by adamcrowe

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YouTube -- HBO Voyeur Cannes Lions Promo Grand Prix (2008)

"HBO Voyeur was expressed as a multi-media, multi-platform program, each touch-point acting as an invitation to engage with the project as a whole. It began with a life-size projection on the side of an apartment building in downtown Manhattan, creating the illusion that the wall had been cut away and allowing viewers to experience the story by seeing the lives inside. The viewers became essential players within the story - their gaze the very essence of the concept for HBO Voyeur:sometimes the best stories are the ones we were not meant to see. It encouraged viewers to seek more, become a part of the story and engage with the content." -- Wow! The building set-up reminds me of Jean-Luc Godard's 'Tout Va Bien'

transmedia storytelling narrativeenvironments space navigation augmentedreality projection mobile voyeurism cctv HBO
january 2009 by adamcrowe

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Tumbarumba

"Tumbarumba is a frolic of intrusions—a conceptual artwork in the form of a Firefox extension. Tumbarumba hides stories—twelve new stories by outstanding authors—where you least expect to find them, turning your everyday web browsing into a strange journey. What the add-on does is insert a fragment of a story (what we call a tumbarumba) into a webpage. The result is a nonsensical sentence... when you move the mouse over the inserted sentence fragment that the cursor changes to a hand cursor. Clicking on the tumbarumba causes more of the story to appear. Repeated clicking will cause the entire page to change to the story."

storytelling narrativeenvironments distributed fiction hypertext firefox browser extension net.art surrealism
january 2009 by adamcrowe

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Tropes -- Television Tropes & Idioms

"Tropes are storytelling devices and conventions that a writer can reasonably rely on as being present in the audience members' minds and expectations." -- Lore!

* storytelling narrative archetypes objects narrativeobjects narrativeenvironments narrativeacts entertainment writing wiki
december 2008 by adamcrowe

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Flickr -- Stephen Colbert's Greenscreen Challenge

MmmHmm.

storytelling narrativeenvironments productnarratives metanarratives production transparency StephenColbert starwars fandom
december 2008 by adamcrowe

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Ask a Wizard -- War of the Worlds 2.0: The Post Mortem

Stuff's just beginning to trickle in reflecting on our Halloween reenactment of The War of the Worlds on Twitter. Here are some links to what we've found so far. Each participant averaged 2.6 tweets total. The most active participants posted 60 to 100 tweets. There were around 600 people following the invasion progress. That's about 1500 tweets for all participants over the course of the event. I think it's safe to assume that about 10,000 people were touched by these apocalyptic tidings."

storytelling twitter wotw fanon fandom fanfiction collaboration peerproduction fiction epistolary reenactment alternativereality narrativeenvironments performance roleplay storygraph archetypes invasion
november 2008 by adamcrowe

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Ask a Wizard -- War of the Worlds 2.0

"#1: a noteworthy astronomer speculates on the possibility of an alien invasion. This would be a good time to talk about the Drake equation in your blog, especially if astronomy is your hobby. Send an email to wotw@cixar.com with your blog so we can proliferate it on the @wotw2 Twitter account. -- #2: The alien invasion occurs. Follow @wotw2 to keep in sync with the progress of the invasion. This Twitter feed will automatically update, in general terms, the unfolding of the alien invasion like clockwork throughout the world. Coordinate with Tweeters in your area to tell local stories. -- #3: After the threat dies down, people begin to blog and speculate about what happened, and every topic near and dear to them. -- #4: The curtain rises. Blog, link, and tweet about the experience."

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MIT Convergence Culture Consortium -- Distributed collectivity: storytelling on twitter by Xiaochang Li

"In the recent War of the Worlds example, some estimated 600 participants got together and generated around 1500 tweets about what they envisioned to be happening around them as various events within the original narrative unfolded, so that as the tripods touched down, people were encouraged to generate local narratives and fill in gaps in the story... a "real time" unfolding of a story-act, creates not only a story world, but one which is ambiguous in its boundaries, where characters can enter and leave at will, in any direction... the original story is merely the facilitating mechanism in the storytelling effort... the stories that explode out of the framing device have gaps, overlaps, contradiction, temporal inconsistencies, and all forms of delay, change, surprise. We are not only talking about a multilinear hypertext narrative, but rather an entire narrative ecology that potentially explodes the structure of how we, as a collective, tell stories."

storytelling wotw twitter narrativeenvironments transmedia fanon fandom fanfiction epistolary alternativereality performance roleplay collaboration fiction storygraph
november 2008 by adamcrowe

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MIT Convergence Culture Consortium -- FOE3 Liveblog: Session 4 - When Comics Converge: Making Watchmen

"#Alex McDowell: The Matrix property spread out in a very comic book mentality. The Wachowski Brothers began with a 300-page graphic novel storyboard. Their intent was always to spread it out via transmedia. -- #Alex McDowell: The shame of Minority Report was that there was huge databank fo world building that could have been used in a game or something, but never was... There's all this extra work that the game could tap into, but can never take advantage of. Game, film, comics are one entity. One space, instead of fragmentation... We need to think about how to embedd narratives in environments. Use physical architecture to drive narrative. Give people an opportunity to go further than quest games. Create an immersive social space that is mediated in narrative terms. Collaboration needs to go towards expanding the richness of narrative."

* comics gaming transmedia storytelling narrativearchitecture narrativeenvironments narrativeacts productnarratives storygraph
november 2008 by adamcrowe

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bubba gump

"After the success of the movie “Forrest Gump”, Paramount Pictures approached Rusty Pelican Restaurants Inc. with their desire to open a

transmedia storytelling productnarratives narrativeenvironments forrestgump restaurant
november 2008 by adamcrowe

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Hornby -- Products: Lyddle End

http://russelldavies.typepad.com/planning/2008/11/speculative-mod.html

alternativehistory prototyping space storytelling objects narrativeobjects narrativeenvironments productnarratives
november 2008 by adamcrowe

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SPACE.com -- After 40 Years, Star Trek 'Won't Die'

'"It's so American because in America we integrate people into one," says NASA astronaut and Trek fan Mike Fincke... Star Trek's final original series episode aired in June 1969. One month later, NASA's Apollo 11 astronauts Neil Armstrong and Buzz Aldrin landed on the Moon... the effect of Star Trek has reached beyond science fiction and into science fact. NASA's first space shuttle, a prototype for landing tests, was named Enterprise in honor of the legendary starship after a massive fan campaign flooded the White House with letters. Roddenberry himself reached space after death when his ashes were launched aboard NASA's Columbia orbiter in 1992. "Star Trek won't die because there is that interest," Fincke says. "It touches a fundamental nerve in human beings, especially Americans, because we're pioneers and explorers...all these things that are the good parts of our country, and Star Trek captures that in a glorious way and gives us a picture towards the future."

sciencefiction startrek nasa productnarratives storytelling narrativeenvironments archetypes western frontier bushwalk
november 2008 by adamcrowe

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Russell Davies -- Speculative Modeling

"How about I get a load of Lyddle End properties and we try and build a version of what we think Lyddle End might be like in 2050? Everyone who wants one gets a little building and they have to alter it, mod it, change it, play with it, to reflect how they think the world will be in 42 years time. Then, we'll put them all together, either physically or through the magic of photography, and see what it might tell us about our visions of the future. I can't help thinking we might be able to build ourselves a rather intriguing speculative diorama."

alternativehistory prototyping space storytelling objects narrativeobjects narrativeenvironments
november 2008 by adamcrowe

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Metacortechs

"Serving you into the 21st Century" (Meta-Cortex)

matrix fanon fandom fanfiction alternativerealitygaming narrativeenvironments objects narrativeobjects archetypes corporation prison
november 2008 by adamcrowe

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In Search of Oldton

'"How does a town just disappear? "When I was six, my dad killed himself and we left the old town where I was very happy. Now I go back to look for it, it isn't there..." During the last couple of years I've been trying to locate Oldton and make sense of what happened there. From the texts, photos and other Oldton artefacts you send me, I am making a map of the place, a grid of 52 cards that locate all the people, events and emotions that have been lost until now."'

storytelling narrativeenvironments alternativereality memory interactivefiction
october 2008 by adamcrowe

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YouTube -- I proposed by hacking Chrono Trigger

'On October 17th, 2008, I proposed to my (now) Fiancee. Originally I wanted to return to the site of our first date, Mount Baker, near Bellingham Washington. Sadly, there was no discreet way to get her out there. So I turned to the next best thing, digitally recreating the mountain! When her name appeared on screen (blurred in this video), she glanced over to me (on one knee, with the ring out), wondering, "How did they get my name in this game?" When she saw the ring, she reread the proposal, nodded yes, and said, "You are such a huge nerd! I love this!"'

marriage romance memory narrativeenvironments nintendo ds hacking nerds
october 2008 by adamcrowe

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Guardian -- Charlie Brooker brings zombies to Big Brother

"Brooker has conjured up a very clever satire, mocking the people who take part in these shows and the sort of people who watch them. In one brief scene a zombie, drooling blood and spittle, sits transfixed by the Big Brother live feed. Such are the perils of watching too much telly. Endemol, which makes Big Brother, also produced Dead Set. Talk about having your cake – or should that be zombie? – and eating it."

CharlieBrooker bigbrother zombies tv entertainment narrativeenvironments archetypes siege television
october 2008 by adamcrowe

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YouTube -- Matrix 4?

"Neo vs Robotcop and Yoda"

movies mashups sciencefiction intertextuality narrativeenvironments fandom
october 2008 by adamcrowe

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Welcome To Massive Dynamic
fringe sciencefiction transmedia storytelling narrativeenvironments alternativerealitygaming
october 2008 by adamcrowe

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Wired -- Adult Swim's Superjail Skewers Surveillance State

"From Guantanamo to The Prisoner's Village (currently under renovation) to Lost's island and onward into further mutations, detention is big in the 21st century."

storytelling narrativeenvironments archetypes detention cocooning surveillance control
october 2008 by adamcrowe

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Wired.com -- First Impressions: LittleBigPlanet's Ever-Expanding World of Wonder

"LittleBigPlanet could still be incredibly enticing for non-creators, because it offers us the allure of an ever-growing, unlimited, crowdsourced world full of new levels that are churned out for free on a constant basis. It is, without question, fun to play. But without the constant addition of new content, it wouldn't be half the game it is now. So the LittleBigQuestion is: Will LittleBigPlanet's gameplay limitations give it a shelf life longer than that of the average game? After the new-game smell wears off, will all the levels that users create just be endless iterations of the same basic mechanics?"

littlebigplanet gaming content gamemechanics storytelling narrativeenvironments narrativeacts
october 2008 by adamcrowe

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Wired -- Video Gallery: Top 10 User-Created 'LittleBigPlanet' Adventures

"#7. Duckroll mobile by Tempy-kun: This level is just a riff on duckrolling, the soon-to-be-forgotten internet meme that spawned the far more popular Rickroll. Defining moment: So why is this here? Because even silly levels like these have serious benefits: Users can take the Duckroll mobile and use it in their own levels. It'll still contain the original creator's ID in the metadata."

littlebigplanet memes lulz toys narrativeenvironments objects narrativeobjects gaming levels gamemechanics gameplay content mediaclouds storytelling transmedia
october 2008 by adamcrowe

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Just Press Play -- Dexter Gets His Own Newsstand

"If you happen to pass San Francisco's Union Square in downtown, you'll see that a rather peculiar newsstand was erected with the name Dexter and a date. This Dexter Newsstand is there to promote this coming Sunday's Season 3 premiere of the hit Showtime series of the same name. Earlier this month, several mock covers of real magazines with Dexter on them were seen on the show's official Facebook group. Apparently Showtime took the concept further than a cover and actually published these mags—though they're only about 6 pages long. These magazines were available for "purchase" at the Dexter Newsstand."

transmedia exogenous productnarratives objects narrativeobjects storytelling narrativeenvironments magazines celebrity verisimilitude vernacular via:waxy fame
october 2008 by adamcrowe

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LinkedIn -- Betty Draper

#Homemaker at Mrs. Don Draper: After a successful career in modeling, I have settled down to a very fulfilling life taking care of my wonderful husband and two beautiful children. It's a full time job, believe me."

madmen narrativeactivism narrativeenvironments transmedia storytelling exogenous exposition
october 2008 by adamcrowe

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nobody's sweetheart -- Mad Men Icons

"Make a donation via Paypal" -- Narrative Economy

madmen narrativeactivism objects narrativeobjects narrativeenvironments storytelling transmedia
october 2008 by adamcrowe

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Wired -- LittleBigPlanet Transforms Players Into DIY Gods

'Unlike the abstruse 3-D design and physics programming that most game development requires, this experience is meant to be as simple, intuitive, and addictive as the gameplay. "We're all really into music," says Alex Evans, cofounder of the game's developer, Media Molecule, "and we see this as a form of jamming."' -- "User-generated gaming"

gaming games gamemechanics tools narrativeenvironments storytelling objects narrativeobjects littlebigplanet
september 2008 by adamcrowe

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