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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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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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Design Fiction Goes From Props to Prototypes

Julian Bleeker at Kicker Studio's 2010 Device Design Day: 'Prototypes are ways to test ideas—but where do those ideas come from? It may be that the path to better device design is best followed by creating props that help tell stories before prototypes designed to test technical feasibility. What I want to suggest in this talk is the way that design can use fiction—and fiction can use design—to help imagine how things can be designed just a little bit better.'

storytelling diegesis productnarratives narrativeobjects objects transmedia prototyping sciencefiction technology temes futurism design from delicious
january 2011 by adamcrowe

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Wikipedia -- Star Wars Expanded Universe (Holocron)

'#Official levels of canon: The Holocron is an internal database maintained by Lucas Licensing for the express purpose of trying to maintain continuity within all licensed products. The Holocron is sorted into four levels of canon, reflecting LFL's canon and continuity policies: #G (George Lucas) canon is absolute canon. G canon outranks all other forms of canon, #C (continuity) canon and is considered authoritative as long as it isn't contradicted by G canon, #S (secondary) canon refers to older, less accurate, or less coherent EU works, which would not ordinarily fit in the main continuity of G and C canon, and #N continuity material is also known as "non-canon" or "non-continuity" material. What-if stories (such as those published under the Infinities label) and anything else that cannot at all fit into continuity is placed into this category. "N-continuity" is not considered canon.'

archives continuity starwars canon fanon franchise transmedia
october 2010 by adamcrowe

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CNN -- The blurry lines of animated 'news'

'Welcome to billionaire Jimmy Lai's newest gamble: Animated news. When news agencies didn't have footage of scenes from the car crash involving Tiger Woods, Lai's team raced to put together animation dramatizing the incident, garnering hundreds of thousands of hits on YouTube. The end product drew derision, with critics saying there's a credibility gap because the animated features mix real news footage with dramatizations of often unverified versions of events. Every day they churn out about 20 reports, often a combination of animation and real video, for the Web sites of Lai's Apple Daily newspapers in Taiwan and Hong Kong. "You have a lot of missing images, in the TV, in the news reporting," Lai said. "If this is an image generation or image era that we are in, that is a big gap we are filling."'

visualization news journalism transmedia storytelling virtuality retcon spectacle
september 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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Ag8 -- Purefold, the open media franchise, has come to a halt.

'Purefold, the open media franchise conceived by Ag8 and developed in partnership with Ridley and Tony Scott’s RSA Films, has come to a halt. A combination of factors have prevented this ambitious project from gathering the required funds to get off the ground. -- Purefold envisaged to break with some of the traditional components of branded content initiatives. Set in the near future, the project relied on prototype placement (or product invention) instead of product placement as a way to integrate advertisers into storytelling. -- Combining so many innovations proved to be a challenging recipe for most agencies and advertisers and despite advanced collaborations with several A-list brands, a lack of sufficient funding meant that Purefold was unable to move from script development stage into production stage. Because of these evolutions, Ag8 has ceased its activities.' -- Time to die.

purefold transmedia productnarratives
april 2010 by adamcrowe

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YouTube -- Jeff Gomez, "Storyworlds: The New Transmedia Business Paradigm"
transmedia JeffGomez
march 2010 by adamcrowe

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The Onion -- Wildly Popular 'Iron Man' Trailer To Be Adapted Into Full-Length Film

'Fans are worried that the feature film adaptation of the beloved trailer won't live up to the original 90-second story's vision.'

TheOnion transmedia lulz satire
january 2010 by adamcrowe

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MIT TechTV – Keynote: Henry Jenkins: Revenge of the Origami Unicorn

7 Core Concepts of Transmedia Entertainment: #Drillability #Mythology: Continuity vs Multiplicity #Immersion & Extractability #World Building #Seriality #Subjectivity #Performance -- On mask play in transmedia activism: "It's a way of taking transmedia back into society and trying to change the world using a shared mythology that shapes our experience." Example: Anonymous [V for Vendetta] vs The Church of Scientology -- It's getting a bit too easy to point to something and say 'transmedia'. HJ: "The best transmedia story of the last few years has been Barack Obama." http://henryjenkins.org/2009/12/the_revenge_of_the_origami_uni.html

transmedia storytelling intertextuality additivecomprehension performance augmentationistsvsimmersionists masks metaphor mythology activism HenryJenkins
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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Campfire -- True Blood: Revelation

'In the show, a synthetic blood beverage called “Tru Blood” allows vampires to walk among humans. HBO faced some specific communications challenges marketing True Blood. Primary among them was creating awareness, building buzz and ultimately driving tune-in.

trueblood liminality liminalobjects objects transmedia alternativerealitygaming casestudy
september 2009 by adamcrowe

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New York Times -- Consumed: This Joke’s for You

'10,000 cases and counting of Brawndo have sold online or via convenience stores in the Northeast and other regions. This happened not because of a movie-studio marketing brainstorm. It happened because of an “Idiocracy” fan in Oakland named Pete Hottelet. A graphic designer with very particular pop-culture tastes, Hottelet has started a business devoted to bringing to life certain products from movies. His business is called Omni Consumer Products, a name borrowed from the fictional megacorporation in “Robocop.” -- “I watched ‘Idiocracy,’ and I was like, ‘O.K., we’re in,’ ” Kirby says. “Based on how things are going on in the world, and especially our country right now, this is a shoo-in.” He laughs as he says this, so I wasn’t sure what he meant. Are we already living “Idiocracy”? “Absolutely,” he says. “It’s all about overcommercialization.”'

transmedia narrativeobjects liminality liminalobjects objects productnarratives productplacement metabrands defictionalization merchandise simulacra consumerism satire
september 2009 by adamcrowe

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Tru Blood Beverage

'The official site to buy Tru Blood Beverage. Enliven yourself with this uniquely carbonated, slightly tart, lightly sweet blood orange drink.'

transmedia storytelling trueblood narrativeobjects objects liminality liminalobjects extradiegesis carrierobjects blood infection vampires productnarratives productplacement metabrands defictionalization merchandise
september 2009 by adamcrowe

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Omni Consumer Products

'Omni Consumer Products is a product development company located in the San Francisco Bay Area, with a focus on licensing, defictionalization, and reverse-branding.' -- Did Tru Blood

branding transmedia merchandise entertainment liminality liminalobjects objects narrativeobjects productnarratives productplacement trueblood metabrands defictionalization agencies
september 2009 by adamcrowe

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NYTimes.com -- Turning to Hollywood Tie-Ins, Lego Thinks Beyond the Brick

'...experts like Dr. Jonathan Sinowitz, a New York psychologist wonders at what price these [movie tie-in] sales come. “What Lego loses is what makes it so special,” he says. “When you have a less structured, less themed set, kids have the ability to start from scratch. When you have kids playing out Indiana Jones, they’re playing out Hollywood’s imagination, not their own.” -- “I would like to see more open-ended play like when we were kids,” says Gerrick Johnson, a toy analyst at BMO Capital Markets in New York. “The vast majority is theme-based, and when you go into Toys “R” Us, you’d really be challenged to find a simple box of bricks.” ...when a minifigure “dies” in a “Star Wars” or “Indiana Jones” video game, he dissolves into a pile of bricks and then springs back to life, cartoon style. “We think kids really want to have this good-against-evil play; they want this fighting against each other,” says Charlotte Simonsen, a Lego spokeswoman. “But we want to do it with a wink.”'

lego toys play transmedia entertainment francise fandom nostalgia evocativeobjects liminality liminalobjects objects
september 2009 by adamcrowe

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Confessions of an Aca/Fan -- From Cinema to Games: Some Fascinating Data

'...there has been a dramatic shift over time from games released only after the film has been successfully released towards simultaneous release. It is now taken for granted within a range of genres that there may be a market for the game even if the film itself does not do well. This situation is especially ripe for transmedia storytelling, since it lends itself well to a co-creation rather than licensing model, allowing for the game and the film to be developed side by side and for their release to be coordinated more fully than would have been the case a decade ago. The most likely genres to make the transition from screen to games are: Action (236), Adventure (222), comedy (169) and Thriller (152). Those genres least likely to be made into games include documentary (2), Western (9), War (11), and Musical (23).'

transmedia franchise gaming entertainment connvergence
august 2009 by adamcrowe

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io9 -- Are Science Fiction Franchises As Popular As Religion?

'Like all great religions, the franchises have mysterious histories, preserved in decaying books and obscure pamphlets. The thread that unites all of them is an overarching tale of social outcasts who find holy books that show them the light, and lead them to secret congregations where mystical debates and opinions are exchanged. Converted by these ancient books, the earliest fans began to build the franchises that would transform their visions of other worlds into the pillars of new belief systems. In the end, religious fervor is good for the pocketbook of the culture industry. The more we worship, the more we are willing to pay for action figures, for DVD box sets, for expensive reissues and signed first editions. These things are trinkets for our shrines, outward signs of our devotion. And like all religious objects they are dosed with a symbolic meaning that goes way beyond their unbroken plastic seals. They ward off what hurts us in the world. They promise better things to come.'

transmedia storytelling entertainment franchise sciencefiction religion fandom cults mythology meaning culture #storage
august 2009 by adamcrowe

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BBH Labs -- The Storyteller’s Story

'Mark Cridge talked about the need for a creative director to be comfortable with the idea of curation, rather than control. -- The new movie marketing model shows us that storytelling doesn’t need to be written off as antiquated, one way communication, quite the opposite. Sophisticated stories are spun around the core characters & concept behind a film, all with the aim of driving anticipation, buzz and deeper, more rewarding relationships with fans. -- ...the fundamental shift in storytelling is simply this: we are now in the business of starting stories, not attempting to nail them down from beginning to end. Letting stories take on a life of their own, to be played with, passed around, modified and enriched by the audiences they’re developed for. -- #4. Fans may want to be “hunter gatherers” (see Henry Jenkins on the subject of world-building), piecing together dispersed pieces of content in order to build a fictional world, but they only have so much time to do so.'

literaryculturevsoralculture transmedia storytelling entertainment marketing huntergatherer collectiveintelligence curation tidying additivecomprehension meaning retribalization
august 2009 by adamcrowe

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Smokescreen

'"You don't know me, but I know you..." Smokescreen is a cutting-edge game about life online. We all use Facebook, MySpace, Bebo and MSN to keep up with our mates - and we've all heard the stories about parties on Facebook being mobbed, or people getting stalked on MSN. The question is, what would you do if it happened to you? -- Smokescreen is a game about online identity, trust, and privacy. Launching in September, Smokescreen is from Channel 4 and Six to Start.'

sixtostart channel4 transmedia storytelling games seriousgames privacy security identity identitytheft stalking paranoia trust
august 2009 by adamcrowe

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Los Angeles Times -- Searching for 'Blair Witch' a decade later

'These guys were never heard from again -- but their promotional savvy lives on. Many at the early screenings believed that the film's novel premise -- three student filmmakers disappear in the woods while shooting a documentary about the legend of a local witch and their footage is found a year later -- contained some grain of truth. "The blurb on the poster said this was 'found footage,' and there was nothing in the marketing to lead you to believe it was anything but that." That perception was reinforced by the movie's clever website, launched before Sundance, which expanded the "Blair" lore with bogus news reports, historical timelines and video interviews. "Did the marketing overshadow the movie? Yeah, in some respects," "Blair" co-director Eduardo Sánchez says. "But since we created 90% of the marketing, I never had a problem with that."' -- Haha-hackers.

* epistolary storytelling transmedia authenticity liminality narrativeobjects objects simulacra meta blairwitch
august 2009 by adamcrowe

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Story In Another Dimension -- 4-dimensional characters & cross-media screenwriting

'The reason 3×3x3 is necessary when amplifying your character’s dimension is because it not only adds detail to the past and future of the character and world of story, where a traditional backstory might suffice, it also provides a fully developed backstory and future story that will be directly related and linked to the story in focus (the middle of the three acts). By developing a three-act past for your character, including anything from their journey through the space academy, their near-death experience due to an addiction, or what ever might have shaped them into the character we experience in the story in focus, you’ll create an extensive world of story and character dimension your audience will be able to discover when searching for more about the story in focus … the main attraction – assuming you write a compelling story and character your audience is tempted to learn more about.' -- Endless exposition. (See: SJ on Lost starting at CRISIS on its narrative arc.)

storytelling transmedia narrativearchitecture exposition existentialism
august 2009 by adamcrowe

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Lostpedia -- ITunes Book Club

'Dear LOST reader (and listener!), Over the first four seasons of LOST, we managed to incorporate many books into the show. Now, for the first time here at iTunes we have catalogued a list of books available in audio form that relate in some way to LOST. Some are being read by our characters, such as Sawyer, or are just sitting on shelves in episodes of the show; others connect with various themes of the series. But the audiobooks here were all carefully chosen to refelct some aspect of the story we're trying to tell. To paraphrase one of our heroes, Stephen King, to be a writer one must first be a reader (and listener!). We find ourselves constantly striving for even a small measure of the accomplishment of what these authors have achieved in their books. Pick up and download any of them and experience the richness of storytelling, character and theme, and then allow your imagination to connect all that back into our show. All our best, Damon and Carlton (Executive Producers, LOST)'

lost epistolary storytelling transmedia intertextuality narrativeobjects evocativeobjects objects books
august 2009 by adamcrowe

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Lostpedia -- Literary works

'The following literary works, references or authors have been mentioned or shown in the series to date.' -- Includes: 'Bad Twin by Laurence Shames (Ghostwriting for metafictional character, Gary Troup) Detail: 'Gary Troup delivered the manuscript of Bad Twin to Hyperion Publishing just before his fateful trip on Oceanic Flight 815.' -- '#Sawyer's books. Despite his "redneck" personality, Sawyer is an avid reader. He reads or references books in several episodes: ...' -- The conduit, the fool.

lost epistolary storytelling transmedia intertextuality narrativeobjects evocativeobjects liminality liminalobjects objects books
august 2009 by adamcrowe

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Times Online -- What's going on? Don't ask me, I’m lost... by Steven Johnson

Puzzle: '“They are all dead, it killed them all, please help us.” -- 'If the networks had made Lost 30 years ago, it would have followed a fixed narrative flight path: introduce all the passengers and the pilots and the feuding stewardesses; learn each of their “back-stories”; and then have the engines fail. Abrams did away with that entire prologue: Lost begins seconds after the crash, and so from the very beginning of the show, the 20-odd survivors that we focus on are complete mysteries to the audience. We know nothing about them, and so the narrative pleasure comes from watching these interlinked histories being slowly revealed throughout the season, in flashbacks and reminiscences.' -- No exposition = Suspended mystery. -- 'The genius of Lost is that its mysteries are fractal: at every scale—from the macro to the micro—the series delivers a consistent payload of confusion. Narratives, by definition, work by withholding information about future events...' -- Temporal/Spatial gaps

lost transmedia storytelling narrativearchitecture exposition mystery puzzle suspense
august 2009 by adamcrowe

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cityofsound -- Why Lost is genuinely new media

'OK, the cover is badged as a 'Lost' product, so the artifice is partly lost, but still. Generating an ISBN for the book; creating an author; having an actual book written (it's out in May); all relatively straightforward for an enterprise on this scale. All of this creates an entry in a new data-space: in this case, the Amazon database and user experience. This is the producers of the show (presumably) actually using the identifiers of other operations to provide coherent hooks for interaction around their product. Comments, discussions, tags - all could follow. How long before there's a Driveshaft CD available? (A while, I hope. Though it looks like there was a faux Myspace account for Driveshaft at one point.) One half expects the Sawyer character to turn up as an actual Flickr user, posting images from the beach, or more likely, selling bits of charred aircraft on eBay. This isn't so much product placement as identifier placement.' -- Metacontent

lost transmedia narrativeobjects objects meta productplacement productnarratives mythology additivecomprehension fandom
august 2009 by adamcrowe

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Vimeo -- ETC Talk: The Cult of Me

Notes: Interesting ideas on prediction markets for storytelling, but that's not story or telling. It's more like a crowd-directed form of fact-finding that has a payoff for accuracy. If reality is to remain stranger than fiction then the 'vitality' of everyday life shouldn't be 'normalised' by a majority-ruled crowd. Whilst people need catharsis, closure, and resolution, they don't get the full impact of those by 'betting' on outcomes. Stories are explorations in psychological probability spaces, not factual/numerical. Not all types of probabilities are equally meaningful -- Mentions ARGs: The unique thing about ARGs is that they are shared sub/dom experiences. It's puppetry/simon says/ludic liberation. Some people like being 'out of control'. Other gameforms demand you *always* be in control. That lack of control makes ARGs feel like stories -- Rather than storytelling, these ideas are closer to reporting, journalling, status updating, 'discourse' or where there's purpose, activism.

internet web transmedia storytelling storygraph predictions markets socialmedia
july 2009 by adamcrowe

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Gadgetell -- “Augmented reality” for kids by Mattel?

'Mattel is introducing a new set of toys based on the movie “Avatar” that brings augmented reality to kids. Here’s how this works: each toy (vehicle, action figure, etc.) has a 3-D tag which can be scanned using a webcam. Then the computer will display info about the character, animated versions of the character, and more pictures. Mattel also has bonus features for those who shell out extra money for the “deluxe figures.” Scanning a 3-D tag (also called a “i-TAG”) of one of these deluxe figures will lead to the “animated 3-D models [to] ‘come alive’ through engaging, evading or defending moves. Place two i-TAGs from the “Battle Pack” together and the 3-D images will interact with each other.”' -- Kewl.

Avatar virtualworlds merchandise augmentedreality narrativeobjects objects transmedia toys
july 2009 by adamcrowe

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180360720 -- Post Digital Marketing 2009

"Discovering how companies create value in the context surrounding the product is crucial in order to become invaluable inside the most important interface between the company and the customer – the experience." -- Yup. What's your product narrative? Can haz hacks with that? (p185. Good note about the cathedral/bazaar cocreation model.)

productnarratives experience context brandedutility servicecologies transmedia catheralbazaar peopleshaped copycat propagation planning marketing presentations via:iaintait
july 2009 by adamcrowe

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YouTube -- Adam Curtis Interview: Das Internets 1/2

On the internet: his views on its impact, its potential, and what it has come to represent. -- "The new realism will be something that geniunely reflects to people their experience of the world which is complicated, ambiguous, that we are alone in the world..." -- "Facebook is just a victorian public world reinvented, but it's not the new television because it doesn't tell us stories, and people's experience doesn't tell us stories. Our job is take people's experience and make things out of them which then those individuals will go 'Oh, that's fascinating, it responds to me, I feel that's real but it takes me beyond myself.' -- In our world of individualism, the things that people are really concerned about are being trapped by their own feelings: there is growing sense that people want to know whether their feelings are real, if their feelings are right or wrong, do other people feel these feelings? They want to be taken out of themselves and taken into other emotional dimensions."'

internet storytelling transmedia narrativearchitecture realism mystery sousveillance reflexivity individualism identity homogeneity emotion emotionalintelligence penfieldmoodorgan AdamCurtis interviews
july 2009 by adamcrowe

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Oil Productions / www.c2h6.com

"Oil is a new breed of studio, specialising in interactive, multi-platformed drama and entertainment."

agencies transmedia
june 2009 by adamcrowe

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Transmedia Activism

'Transmedia Activism provides activists and content creators with a framework to be strategic and proactive in the use of media to create social impact. -- Before creating a campaign, three foundational areas must be explored: #A. Social Change - what are you trying to change? #B. Storytelling - what is the narrative thread? #C. Resources - what do you have? -- In setting up a campaign, these areas are explored and used as the basis for a plan: #A. Audience Segmentation - who are you engaging? #B. Resources - what do you need? #C. Story Universe Strategy - how do you define the story? #D. Content Strategy - how will you craft and distribute content? #E. Partners and Stakeholders - who will participate? #F. Engagement - how do you engage toward change?'

transmedia transformation activism astroturfing strategy via:UC101
june 2009 by adamcrowe

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bTWEEN 09 Day 1 -- Purefold: David Bausola Video
purefold productnarratives transmedia storytelling creativecommons
june 2009 by adamcrowe

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New Tee Vee -- Why Lost’s Web-based ARGs Have Made Us Go ARGH!

'Michelle Senderhauf, a pro ARG creator and staff writer at the Alternate Reality Gaming Network, says that revealing the backstory of the numbers separated the TV audience into groups with different levels of involvement. Which may have been the producers’ intention in the first place — to give ARG players an early treat and drive “passive” show watchers “to search for more meaning.” This would be apropos for a series dealing with personal discovery. But, like Senderhauf says, if they reveal the meaning in the last season, “I wonder if the ARG players will be the ones who feel cheated. The big reveal on the show would have been spoiled by facts they learned years ago through the ARG.' -- Mystery vs Puzzle

lost storytelling transmedia alternativerealitygaming canon mystery puzzle
june 2009 by adamcrowe

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Wired -- QA: Hobbit Director Guillermo del Toro on the Future of Film

'In the next 10 years, we're going to see all the forms of entertainment—film, television, video, games, and print—melding into a single-platform "story engine." The moment you connect creative output with a public story engine, a narrative can continue over a period of months or years. It's going to rewrite the rules of fiction. -- What the digital approach allows you to do is take a tangential and nonlinear model and use it to expand the world. For example: If you're following Leo Bloom from Ulysses on a certain day and he crosses a street, you can abandon him and follow someone else.'

storytelling transmedia narrativearchitecture alternativerealitygaming sandbox
june 2009 by adamcrowe

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Experiencefreak -- Transmedia Genius or Personal Intrusion? Prototype’s Facebook Connect

'“Prototype” includes a really interesting Facebook Connect integration that weaves you (or in this case me) into the story line. You’ll have to experience it yourself here to really get it (pictures, family photos, words and profiles within are all me). Check out the video capture below...'

storytelling transmedia narrativeobjects objects data facebookconnect storygraph
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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Ag8 -- Purefold

'With a central theme 'What does it mean to be human?', the franchise explores the subject of empathy - a shared theme with Ridley Scott’s most compelling Science Fiction movie, Blade Runner. The franchise contains infinite interlinked story lines, turned into short-format episodes by Ridley Scott Associate Films’ global talent pool of directors, and informed by real-time online conversations from the audience, which are harvested through FriendFeed, the world’s leading 'life streaming' technology. Taking place in the near future, Purefold enables participating brands to take an alternative route to brand integration than traditional product placement and embrace invention within a narrative framework.' -- It's a test, designed to provoke an empathetic response.

storytelling transmedia realtime friendfeed storygraph fanon crowdsourcing bladerunner RidleyScott purefold
june 2009 by adamcrowe

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Advertising Age -- Advertising for HBO's 'True Blood' Bends Truth a Bit

'... print ads that seem to promote real products and services from Geico, Gillette, BMW's Mini Cooper, Harley-Davidson, Ecko and Monster -- but act as if the audiences for these popular goods are vampires. HBO's idea is to play along "that fine line of fully disrupting someone's experience and at the same time immersing them in your experience," said Zach Enterlin, VP-advertising and promotions for HBO. The campaign contains many other elements, including evening weather reports on radio for vampires who might just be starting their day; a faux ad for movie theaters made to look like the ads for local businesses that normally appear before the show starts; and a faux weekly newsmagazine set to appear on HBO on Demand and HBO internet platforms that includes a segment called "The Vampire Report." That segment will cover "notable events that have occurred over the past week as vampires continue their integration into human society," according to HBO.'

transmedia storytelling trueblood productnarratives narrativeobjects liminality liminalobjects verisimilitude epistolary
june 2009 by adamcrowe

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Vimeo -- 5D Conference - New Television Pt 4: Kevin Slavin

'From the plasma screen in your media room, to the portable device in your pocket, to the side of a high-rise in Manhattan, savvy broadcasters are creating comprehensive "ecosystems" for rich media content with multiple consumer touch-points and immersive interactivity, blending television, web, movies and gaming to redefine the experience of television now and for the next generation. This panel will explore the intersection of design and technology in the creation of "new television", the experience in front of the screen and the experience in the screen created by the blending of media and the interaction of the consumer.' -- (Notes in tag: areacode)

areacode tv transmedia entertainment gaming television
may 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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Brand Republic -- Twitter agency to be launched on back of Mad Men success

"Carri Bugbee, the PR woman behind some of the much talked about twitter marketing of 'Mad Men', is to build a Twitter-based ad agency for media and entertainment companies. Bugbee said that there are a number of lessons producers and marketers can learn from the 'Mad Men' fan fiction, including that producers should strive to reserve the Twitter accounts for all the characters in whatever show or film they are making. She also advised producers to overcome their need to control all aspects of their work and to use their fans to their advantage." -- Wasn't it just that ad people wanted to roleplay being ad people to prove what good ad people they were? Still, a good idea if they can attract true fans who can authentically flesh out the characters. Endless opportunities for brand/product/service/environment/person placement - and not just placement...

twitter agency marketing pr fanfiction madmen fandom fanon roleplay masks narrativeactivism scripting storytelling transmedia
april 2009 by adamcrowe

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Idea IS the format -- THE END IS NIGH

Bacnkground on the Watchmen transmedia marketing campaign -- 'Some of the ideas we pitch feel like complete no-brainers. Others are submitted more in hope than expectation. When we sent Paramount our first pass at treatments for various 3-minute videos, each offering a different view into the world of WATCHMEN and the alternate reality in which it is situated, it never really occurred to me that several months later I’d be able to sit here and show you this…'

watchmen epistolary transmedia storytelling exposition mythology casestudy
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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Jesse Alexander

"Jesse Alexander is a writer and producer of TV, MOVIES, VIDEO GAMES, and COMIC BOOKS."

transmedia storytelling JesseAlexander
january 2009 by adamcrowe

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Confessions of an Aca/Fan -- Going "Mad": Creating Fan Fiction 140 Characters at a Time

"... the fact that Caddell can be both an industry insider and a fan simply demonstrates the degree to which those lines are blurring from all sides in our contemporary convergence culture; the fact that his fantasies have something to do with his real world identity should also not be a shock to anyone who understands the psycho-sociology of fandom." -- ;^)

madmen transmedia stortytelling twitter narrativeactivism fanon fandom fanfiction roleplay simulation work theadvertisedlife
january 2009 by adamcrowe

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NAKEDtokyoBLOG -- Propagation Planning

"... don’t just look at the aggregated ‘first contacts’ but try and account for the subsequent, collateral impressions and weight them appropriately. We can no longer think about the people we want to talk with as ‘the target audience’. They have to be thought of as our partners in communication – not just partners in spreading the word but in modelling it, modifying it, creating it and producing it. We should give people tools, assets, help and permission to take our precious stuff and mash it up and start again. They should be able to do what they want with it and add their own spin to it. This is about planting the message or bits of the message in various places in such a way that people: #Pull the entire message or components of the message down #Play with the stuff we give them and get involved with it #Package it back up again in a way that reflects their take on it (even if it is just adding a comment) #Pass it on to people in their network or circle." -- Biological mediaphors

media planning propagation diaspora transmedia socialmedia gifteconomy openmedia
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 (Comments)

rapier: "I'm supposed to spend 6 months obsessing over a twitter account so I can glean some backstory that is, essentially, tangential to the story line? As much as people like to come up with alternatives to sequential, and essentially complete, story lines the fact is that its a structure that's been with us for thousands of years. The basic form has arisen multiple times across widely divergent cultures. Its not because its been imposed on us by some sort of outside force but because its a reflection of the way humans create their own internal narratives. Reality might not have a narrative but we create one because we need it in order to make sense of the world around us." -- LanceMiller: "...keep user/viewer interactions tied to one username across all media with their age and city as the profile data viewable to all. Then allow a Google-esque AI mine across all these media gathering that username's input, ultimately constructing a Meta-User-Synopsis of what that user injects..."

storytelling transmedia transmission narrative cognition catharsis poetics storygraph
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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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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Fast Company -- Seth MacFarlane’s $2 Billion Family Guy Empire

'MacFarlane describes as edgier versions of New Yorker cartoons come to life. Running from 30 seconds to just over two minutes, the shorts are sponsored by advertisers and noteworthy for a host of reasons. For fans, they are MacFarlane's first non-TV venture and so exist outside the reach of censors and network suits and introduce a universe of entirely new characters. For the entertainment industry, they mark the first experiments with a bold new method of content distribution (and the entry of the beast Google into its world). This purportedly unsophisticated hack comic now finds himself, in some ways by accident, at the intersection of advertising, television, and the Web -- all of which are blurring together. MRC provides the funding and sells the ad partnerships, MacFarlane provides the content, and Google serves as distribution outlet, providing the "broadcast" via its AdSense network.'

google storytelling transmedia entertainment content distribution convergence brandedcontent businessmodels SethMacFarlane
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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Campfire -- Case Studies: Verizon: My Home 2.0

'FiOS is Verizon’s fiber optic connection that delivers jaw-dropping Internet speeds and a truly digital home. Verizon asked Campfire to communicate this idea in a way that went beyond speed tests, tech jargon, competitive ads or online banners. The resulting campaign used TV, Web and events in new ways, to tell the story of five families experiencing a 2.0 transformation. Campfire re-appropriated “paid programming” to launch an original technology makeover show, “My Home 2.0,” then supported it with block parties that energized entire neighborhoods along with a website which let viewers enter the story, and chart their own path to 2.0 living.'

transmedia storytelling marketing socialmedia verizon productnarratives transformation communities campfire
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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MIT Convergence Culture Consortium -- Happy New Year: FoE3 videos available
FoE3 transmedia entertainment franchise storytelling fandom
january 2009 by adamcrowe

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NYTimes.com -- Young Muslims Build a Subculture on an Underground Book

“This book helped me create my identity,” said Naina Syed, 14, a high school freshman in Coventry, Conn. After reading the novel, many Muslims e-mailed Mr. Muhammad Knight, asking for directions to the next Muslim punk show. Told that no such bands existed, some of them created their own, with names like Vote Hezbollah and Secret Trial Five.'

identity religion islam punk culture transmedia productnarratives fandom
january 2009 by adamcrowe

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io9 -- Failed Franchises: Why Is It So Hard To Start A New Franchise?

'Nowaday's pop culture is less open-ended. A show like the original Star Trek had a very simple premise that went in a different direction every week: they're on a spaceship. One week, they're on the 1920s gangster planet, the next they're having a dogfight in space with an alien vessel. These days, it's all about "arcs" and "mythology," which means that newer would-be franchises are less newbie-friendly and harder to spin out endlessly into new permutations.'

storytelling narrativearchitecture transmedia franchise
january 2009 by adamcrowe

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Bud Caddell -- Becoming a Madman (PDF)

(Lost the original linking post to this file) -- "Hello there, my name is Bud Caddell. Iʼm a Strategist at the New York based digital think-tank, Undercurrent. On Twitter, Iʼm also known as Bud Melman, a mailroom clerk at Sterling Cooper Advertising in 1962. What follows is an inside look into the recent Mad Men on Twitter phenomenon, and what it means for the future of media and entertainment." -- Awesome write-up of narractivist fanfictionary.

twitter madmen fanon fandom fanfiction narrativeactivism transmedia casestudy pdf
december 2008 by adamcrowe

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Gamasutra -- The Megatrends of Game Design, Part 1

"#Micropayments / #Downloadable content: ...designed to entice the players to deepen their experience of the game by purchasing affordable additional components... I have great faith in the emergence of micropayments (purchase of a map, game mode, character accessories or equipment, episodes, etc.) as a new economic model for our industry. #Merchandising: Today's games feature rich and popular universes, which may yield products taking many forms: action figures, manga and comics, ornaments, school supplies, ringtones, animated series or even novels, theatrical screenplays, or the much wider broadcast of video game tournaments. #Fast gaming: ...the [need] for immediate gaming, without forethought. If the games do not bring sufficient immediate gratification, their users will quickly abandon them. We may thus see games interacting with current sporting events, or even cultural, political, and economic trends. We might even witness the apparition of games centered on socialization."

gaming casualgaming games design gamemechanics transmedia merchandising businessmodels virtualgoods functionalitems decorativeitems micropayments contextawaregaming youwho
december 2008 by adamcrowe

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Dan Hon -- Everything you know about ARGs is WRONG

"WE SUCK: #Don't have enough players #The people who play are weird #The people who play have no money #The people who play aren't mainstream #We make games for the hardcore #We're too expensive #We don't scale (Ouch!) #We lie" -- Hehe. Seriously: "we make games... and we tell stories [that] encourage people to do things" -- Yup. (via Toby Barnes. Thanks.)

DanHon sixtostart alternativerealitygaming alternatereality gaming games design gamemechanics ludology narratology storytelling fun engagement transmedia transformation rant via:tobybarnes
december 2008 by adamcrowe

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Flickr -- OMG MACRO! [p52 w1]

Yup.

transmedia storytelling objects narrativeobjects rabbitholes intertextuality starwars indianajones fandom
december 2008 by adamcrowe

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Adactio: Journal — Iron Man and me

'... my mobile phone rang. I answered it and the woman on the other end said, “Hi. I sent you two emails about using a picture of yours…” “Ah, right!”, I said. I then launched into my usual spiel about Creative Commons licencing. I explained that she was free to use my picture. All she had to do was include a credit somewhere in her little movie.'“Wait a minute”, I said. “What is this for?” “It’s for a movie that’s currently in production called Iron Man, starring Robert Downey Jnr.” Holy crap! One of my photos was going to be in Iron Man? That certainly put a new spin on things. “So I guess you want to use the picture because it’s inside NASA’s Vehicle Assembly Building?” I asked. “No. We just thought it was a picture of some warehouse or something.”' -- Ahh, the gift economy shall provide.

creativecommons flickr photography ironman transmedia
december 2008 by adamcrowe

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The New York Times -- IRAQ WAR ENDS
newyorktimes nytimes nyt spoof fake news activism transmedia yesmen
november 2008 by adamcrowe

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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 5 - Franchising, Extensions and Worldbuilding

"#Sharon Ross: When viewers think about "franchising" it connotes commerce and manipulation that's not in a fun way. When audiences talk about "franchising" and "branding" it turns them off. "Worldbuilding" is about community, bonding, the creative aspects, being able to experience the story - it's beyond participation. You become a part of it as a story teller or as a character. "Franchising" feels more limited, even though it's a big part of how it ends up organically working from a business perspective. You don't want to say "narrative extension" to an audience member because it sounds stuffy and not about the pure visceral pleasure - that anything could happen. Narrative doesn't quite encapsulate that. So "worldbuilding" is the draw from a fan perspective.-- #Lance Weiler: It feels weird when you come up with the marketing ideas of transmedia after the original idea... How do you put a price on people's enjoyment?"

transmedia storytelling franchise marketing backlash fandom
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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YouTube -- Capitão Nascimento and Convergence Culture

"What if Capitão Nascimento had read Convergence Culture?" -- How meta is this! Layers and layers of context I don't 'get' and don't much care because in this convergent cultured world it's impossible to 'get' everything and pretending otherwise only makes you an intolerable twat.

transmedia HenryJenkins convergence culture memes intertextuality fansubbing
november 2008 by adamcrowe

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MIT Convergence Culture Consortium -- FOE3 Liveblog: Conversation -- Wealth, Value, and Social Production

"#Henry Jenkins: If Fan fiction is peer production. Multiplicity of narratives. In that case, peer production thrives. Only if idea of unified vision of the whole holds strongly... #Yochai Benkler: Well, what would you define as the cultural unit? Is it the individual statement in relation to the underlying entertainment product or is it the conversation and the exchange?"

FoE3 socialmedia peerproduction narrativeeconomy fanon fandom fanfiction transmedia transformation culture #bandwidth #socialization #processing #complexity
november 2008 by adamcrowe

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MIT Convergence Culture Consortium -- FOE3 Liveblog: Opening Remarks

"#Slide: Convergence is a cultural rather than a technological process. We now live in a world where every story, image, sound, idea, brand, and relationship will play itself out across all possible media platforms. The convergence is in our heads, not necessarily in tech devices. -- #Slide: "People don't engage with each other to engage viruses; people exchange viruses as an excuse to engage with each other." - Douglas Rushkoff -- #Slide: In a gift economy, status, prestige or esteem take the place of cash remuneration as the primary drivers of cultural production and social transaction. - Lewis Hyde"

FoE3 convergence gifting commodification trust authenticity culture participation performance transformation transmedia socialmedia
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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paul isakson -- Confessions Of A (Fake) Mad Man

Paul! -- "I'm the person responsible for the tweets of @don_draper, and thus kicking off that whole crazy adventure." -- Haha. I never guessed. 9000 internets to you, sir.

madmen twitter narrativeactivism transmedia fandom fanon ooc
november 2008 by adamcrowe

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Twitter -- Don Draper [out of character]

"[out of character]: Wanted to tell you all first - I'm officially done tweeting as Don will be handing the account to AMC indirectly soon."

madmen twitter narrativeactivism transmedia fandon fanon ooc
november 2008 by adamcrowe

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Hulking Out, Hulk is In

'I found out that there was a virtual green tidal wave of stuff either endorsed by, licensed by, featured by, or associated with Universal Pictures "Hulk" movie. The following list of 180+ products and brands is just what I could find in one day online, and reflects merchandise solely for the new movie (and Hulk franchise), and does not include the past few decades of other Hulk merchandise related to the comic book and TV Show.'

transmedia productnarratives merchandise licensing hulk
november 2008 by adamcrowe

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Tom Himpe -- The New Roles for Digital (SlideShare)

Brand-funded, open-source, real-time, transmedia.

transmedia storyteling openmedia productnarratives presentations
november 2008 by adamcrowe

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MSN Kirill

"Three scientists have vanished. Two bloggers are under siege. One man has an urgent message to deliver. None of them are safe. Discover the truth behind Kirill, enjoy high definition playback and be part of the drama that everyone is talking about by downloading Silverlight today." -- No.

kirill microsoft transmedia productnarratives sciencefiction
november 2008 by adamcrowe

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