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Chris Roda 2/8/2013 Appended 3/6/2014. Digital Artist CG Supervisor – EA sports Interactive Attractions Film Producer VFX Artist Computer Engineer.

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Presentation on theme: "Chris Roda 2/8/2013 Appended 3/6/2014. Digital Artist CG Supervisor – EA sports Interactive Attractions Film Producer VFX Artist Computer Engineer."— Presentation transcript:

1 Chris Roda 2/8/2013 Appended 3/6/2014

2 Digital Artist CG Supervisor – EA sports Interactive Attractions Film Producer VFX Artist Computer Engineer

3 The technique of telling a single story across multiple media platforms. Uses various strategies to permeate the daily lives of all participants. Producers create unique pieces of content across multiple forms of media and then link them together in narrative synchronization.

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5 Alternate Reality Games(ARG’s) Dinner Theatre on steroids Immersive Dungeons & Dragons Amusements Walt Disney World Imagineering Television Fan driven content – The Walking Dead Video Games EA’s Majestic Marketing Year Zero by Nine Inch Nails

6 Chris Roda’s Definition: All possible human experiences related to a similar concept yet bound rigidly by one central story, theme or canon – The Storyworld Heart. If you can think of it, it could be part of a story world: AmusementsMoviesTelevision Web ParticipationRadioComic Books MusicBillboardsMedia Stunts ToysPajamasDog Biscuits Trading CardsPop Art…

7 Star Wars Harry Potter Scooby Doo Assassin's Creed Mass Effect Pokemon …

8 Transmedia Storytelling is part of Storyworld Transmedia is a powerful tool of the much larger Storyworld engine

9 All Possible Human Experiences Storyworld Heart (Story, Theme, Concept) One Storyworld

10 What’s in it for EA Sports? Traditional forms of media expression and experience are changing Aspects of how marketing, transmedia opportunities, merchandising, cultural impact, … etc. have to be taken into consideration with every element we produce What are we doing for our fans? What experiences are not being explored?

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12 1. Phenomenology The Power of Storytelling 3. The Relationship With the Audience 4. Rules of Storyworld

13 Crazy, abstract branch of philosophy Don’t have time to go into the details  Croda’s abstract(an probably incorrect simplification) Our realities are dictated by the phenomenon of life impacting our consciousness. We can now control the phenomenal experiences of our conscious experiences Therefore, we can now control our realities.

14 Our ideas are the product of our experiences Our ideas are the product of our experiences

15 “The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one's environment” “The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one's environment”

16 Interactivity is the illusion of choice Interactivity is the illusion of choice

17 Media happens somewhere: that somewhere can be designed Media happens somewhere: that somewhere can be designed

18 Croda’s Definition: “The process of shaping reality through the designing of experiences.” The audience extends its consciousness to the thing we create Characters of the story become surrogates for which we bond to with the meaningfulness of the experience

19 The producer designs the original experience. The “Story” takes on a life of its own: The audience intentionally creates the "moment" The meaning of the LOTR changed, the books didn't The sharing of an experience is the same as reviewing, reliving or telling of an "meaningful" experience The original story is static but lives on, grows and takes life of its own.

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21 Stories spark the imagination Stories can change the world Storytellers wrote the future (science fiction, fantasy authors) Stories that are told across boundaries have more power - Introduction to Transmedia

22 Disney is the original “Transmedia Experience" - amusement parks immerse the public into the story.

23 Synergy references story - more than one person perceives the story. the story takes on a life of its own

24 The more sense the story evokes the more powerful it can be

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28 Audience participation must be present for a story to be successful

29 Audiences are changing People and the mediums of communication Our experiences are changing The audiences are experiencing a desire to be more interactive and participatory

30 Sharing = Storytelling

31 Play is fundamental in human evaluation Play translates experience into story Individuals make their own version of the story How do you create an environment for multiple players?

32 Individuals need permission to play Mothers need to have some kind of justification to play(research, education, etc) What is your "trick" to invite people to play?

33 Need to teach people how to experience things and they will follow Folks want to be lead, told what to do... just not literally.

34 Plot and Interactivity cannot Co-Exist Sandboxes can be boring Audience needs to be guided gently, invisibly …

35 Test on your audience, let them be your litmus Re-invest money back into them! Fans are most important asset

36 With so much content fighting for attention and so many franchises fighting to retain an existing fan base, allowing fans to participate in the Storyworld is the key to success & survival

37 Human Needs – growth, significance, learning, surprise, contribution, community, comfort CompanionActor OutsiderObserver Participation Framework Feel Think Do

38 Do You want them to happen? Yes!

39 Best practices for them: capture the attention \Create Doorways into store-ways Encourage Fandom / Secret Formula 1. Tell an amazing story 2. Create Doorways into story 3. Allow the fans to step into the spotlight

40 Option 1: Be objectively awesome Option 2: Show people you're trying really hard to make something awesome 2a) Show people you're doing what you love and appreciate 2b) Listen to fans, React to show them you are listening 2c) Make them part of your team BIG REVEAL... There is no Option 1

41 We’re creating a creative movement Inspire people to enjoy and participate with the team!

42 Facebook Use to emphasize story moments, visuals. No longer 'Official' Site but biggest fan site YouTube Direct towards Fans' content Future Content Web site Contains marketing info but transition to be franchise hub These fans deserve our respect and our attention. DeviantArt Collaborate Creativity Conventions/Cosplay Immersive Play

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44 Anticipate a lot of cooks in the kitchen Needs to be a central story/theme - Storyworld Heart Need to bear down one initial story Leave hooks available for DLC's Have solid ideas but not too deep Each piece must be able to stand on its own and be the best it can be. But not necessary to experience everything Don't rob the experience that players or readers have Don't be all over the place. Get reference material right from the get go. Storyworlds are actually not open. Every time you railroad players you limit experience Storyworld is alive as much as story

45 Highly successful story worlds aren't born overnight. They require considered authorship, strategic planning and effective and intelligent use of social media

46 Create new points of entry into the brand by creating original standalone yet connected narrative product Give everything a purpose; be planting seeds for tomorrow’s content Everything needs to be "canon"

47 Storyworld first! then platforms Create characters, depth, history, rules and stick to them. Serve the feast one course at a time Technology and the chase never rule over story You must fall in love with your characters to make them (the audience) want to follow you!

48 Vision Vision: What is my experience or Storyworld giving to my audience? What question does it answer in a positive way? Theme Theme: Aspirational message that, if adhered to would improve the quality of life for the human race To aspire is the best result of being inspired Archetype Archetype: The lover, the sage, the innocent, the trickster, the outlaw... How does your hero ring a primal chord in the hearts of your audiences Infusion Infusion: After determining Thy Story Heart, there is much less guesswork about the heart of your Storyworld The narrative must be built around these core elements. Thy Story Heart is the skeleton of your chore media NEVER STRAY FROM IT!

49 1. Know Thy Story Heart and never stray from it! 2. The Storyworld is unstoppable and rules over all 3. Franchise visionaries must put up tent poles now! Even if they have to move them later! 4. Studios and Producers must secure the best talent for the job! But Talent must never roadblock an ongoing Storyworld! 5. Create Highly Organized Resources for canon and assets

50 6. Studios and producers must establish a franchise clearing house and regular cross-divisional meetings in support of the story world 7. Stakeholders must be incentivized to support the strategy behind the rollout of the Storyworld 8. Franchise visionaries and Storyworld implementation must validate and celebrate audience participation 9. Licensing, merchandising and marketing must nurture and expand the Storyworld. 10. Storyworld must be accessible across an array of Digital and Traditional Media Portals, each piece adding to the narrative whole.

51 Alternative Reality Games ARG’s StoryHacks Data Mining Female Market Teaching Fund Raising

52 Phenomenology Power of Storytelling Audience Participation Rules of Storyworld

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55 Scott Trowbridge, Vice President of Creative/R&D, Walt Disney Imagineering Damon Lindelof, Producer Sean Bailey, President, Walt Disney Studios Motion Picture Production Stories spark the imagination Stories can change the world Storytellers wrote the future (science fiction, fantasy authors) Stories that are told across boundaries have more power - Introduction to Transmedia

56 Disney is the original “Transmedia experience" - amusement parks immerse the public into the story Synergy references story - more than one person perceives the story. the story takes on a life of its own Transmedia extends story - the more sense the story evokes the more powerful it can be Walt Disney was a disruptive thinker. His ideas changed the way we think about stories and the immersive experience

57 Has a few basic goals Tell great stories bring great characters to life make great places Create new ways of engaging the audience

58 Disney Experiment "Legend of Fortuna" Enable audience to go on a trans-park, trans-media, immersive experience A 48 hour interactive adventure Complete with characters, props, remote locations and even pyrotechnics The players thought this was way cool For many it was playing for the first time (stodgy moms who needed permission to play) Starlight detective agency Internal Disney investigation This is an experience that could be played at home form the web as well

59 The big question is, "How do you scale this?" How can you create such an experience for hundreds, if not thousands of people? Created this big server called "Story Engine" The experience was defined and created locally Then the server acted as real time planner The player interfaces with the server through handhelds as the play the game The handheld acts as part of the communication process with the server

60 Carl Heath, Founder, GR Experiential Learning Elan Lee, Chief Creative Officer, Fourth Wall Studios Brooke Thompson, Freelance Designer Asa Kalama, Senior Technical Staff, Walt Disney Imagineering, Research & Development Focus primarily on ARG How can we strike the right authorial balance between experience creators and participants? ARG’s on the downslide?

61 Audience participation must be present for a story to be successful Moments of serendipity can be very rewarding Provide contingency plants in your ARG to help moderate ass-holes Do everything and anything to finish the story Author on a grand scale but keep an opening for serendipity Need to teach people how to experience things and they will follow Folks want to be lead, told what to do... just not literally. Fuzziness between reality and game is very groovy.

62 Maureen McHugh, Writer, Fourth Wall Studios Lee Sheldon, Associate Professor & Co-Director Amy Hennig, Creative Director, Sony Computer Entertainment Joe Garlington, VP, Interactive Studio, Walt Disney Imagineering How do we activate the player? Most experiences are a balance of game mechanics and story.

63 Shooting thugs over and over again is more interesting then watching shoot thugs over and over again Story Comes from Character We're failing at education when not combining with games Both player and linear exposure need to co-exist at the same time. The audience dictate which to go and where More experience is needed to learn how to blend them

64 Keith Oatley, Professor, University of Toronto Pamela Rutledge, Psychologist & Founder, Transmedia Associates Denise Weston, Psychologist Cory Rouse, Tech Staff, Walt Disney Imagineering, Research & Development We all play in some form or another. This panel will discuss the patterns of how we play by delving into the psychology of why we play.

65 Play is fundamental in human evaluation Only social animals play Play = intimacy -> creating world Play translates sports into story Individuals make their own version of the story

66 No play -> kills adults Play means Create a conflict and resolve it Get flooded with pictures Play -> Its where story world meets life world No technology will substitute for social engagement How do you create and environment for multiple (triggers) (players)?

67 - The playification of storytelling Individuals(especially those who are more dead) need permission to play Mothers need to have some kind of justification to play(research, education, etc) How to invite play for adults? What are the next Juicy Gems What is your "trick" to invite people to play? Open to sit and watch from a playful POV? Kids will learn more Playing educational math and literacy Games across connected multi-platformed experiences are more effective than just one stand-alone

68 -Ubi-Workshop Assassin's creed Quality Content Brand Strategy Business Models Community

69 Transmedia is a storytelling world building technique, that results in a coordinated Multi-platform brand. Each platform is a stand alone narrative endeavor plugged into the universe. Transmedia is not re-inventing storytelling

70 Create new points of entry into the brand by creating original standalone yet connected narrative product Give everything a purpose; be planting seeds for tomorrow’s content Everything needs to be "canon" Thinking ahead... by planting seeds or opening gateways Push the technical Respect your brands and your Fans! Test on your audience, let them be your litmus

71 Jason Zada, Video Director Traditional media has acknowledged that it is difficult to take personalized storytelling global and deliver individualized content in simple forms, on highly populated platforms. “Elf Yourself”

72 Jeff Gomez, CEO, Starlight Runner Entertainment Highly successful story worlds aren't born overnight. They require considered authorship, strategic planning and effective and intelligent use of social media

73 We maximise the value of client's brand and properties by: Determining Brand essence Vastly expanding Story Worlds Aligning stakeholders behind long term strategies Consulting on how to extend new content

74 Storyworld first! Then platforms Create characters, depth, history, rules and stick to them. Take into account the platforms you have at hand Serve the feast one course at a time Technology and the chase never rule over story You must fall in love with your characters to make them(the audience) want to follow you!

75 Attributes which distinguish brand or product line: Vision Vision: What is my brand or storyworld giving to my audience? What question does it answer in a positive way? Theme Theme: Asperational message that, if adhered to would improve the quality of life for the human race To aspire is the best result of being inspired Archetype Archetype: The lover, the sage, the innocent, the trickster, the outlaw... How does your hero or brand ring a primal chord in the hearts of your audiences Infusion Infusion: After determining Brand Essence, there is much less guesswork about the heart of your story The narrative must be built around these core elements. Brand essence is the skeleton of your chore media NEVER STRAY FROM IT!

76 1. Know your Brand Essence and never stray from it! 2. The storyworld is unstoppable and rules over all 3. Franchise visionaries must put up tent poles now! Even if they have to move them later! 4. Studios and Producers must secure the best talent for the job! But Talent must never roadblock an ongoing storyworld! 5. Create Highly Organized Resources for canon and assets

77 6. Studios and producers must establish a franchise clearing house and regular cross-divisional meetings in support of the story world 7. Stakeholders must be incentivized to support the strategy behind the rollout of the storyworld 8. Franchise visionaries and storyworld implementation must validate and celebrate audience participation 9. Licensing, merchandising and marketing must nurture and expand the storyworld. 10. Storyworld must be accessable across an array of Digital and Traditional Media Portals, each piece adding to the narrative whole.

78 Start from the beginning and be unstoppable! Do the extra work of serving your brand essence and storyworld above all others. WE CREATE WORLDS!

79 Evan Jones, Creative Director/Partner, Stitch Media Inc. Robert Pratten, Founder and Managing Director, Transmedia Storyteller Ltd Jan Libby, Founder/Creator, Storeees With so much content fighting for attention and so many franchises fighting to retain an existing fan base, allowing fans to participate in the storyworld is the key to success & survival.

80 Human Needs – growth, significance, learning, surprise, contribution, community, comfort CompanionActor OutsiderObserver Participation Framework Feel Think Do

81 Do You want them to happen? Yes! Best practices for them: capture the attention \Create Doorways into storeways Encourage Fandom / Secret Formula 1. Tell an amaizing story 2. Create Doorways into story 3. Allow the fans to step into the spotlight

82 What do they do, think, and feel? What do we want them to do, think and feel? Crowdfunding to allow then to contribute Re-invest money back into them! Attention Economy  Look at me  like me  watch me  endorse me  listen to me  share me  follow me Sharing = Storytelling Fans are most important asset

83 Option 1: Be objectively awesome Option 2: Show people you're trying really hard to make something awesome 2a) Show people you're doing what you love and appreciate 2b) Listen to fans, React to show them you are listening 2c) Make them part of your team BIG REVEAL... There is no Option 1

84 We’re creating a creative movement Inspire people to enjoy and participate with the team!

85 Kathy Franklin, President, Franchise Development, Lightstorm Entertainment Discover the challenges and opportunities inherent in growing any franchise—even one driven by the number-one film of all time.

86 The fans' legitamate passion fuels the Avatar storyworld Deviantart.com Need to drive it centrally or fans will drive it for you. Where will it go then? Franchise now! The message is embued in everything that is done. It will only enhance the future We need to be an entertainment jugernaut

87 Must maintain message/story if going to maintain franchise Facebook Use to emphasise story moments, visuals. No longer 'Official' Site but biggest fan site YouTube Direct towards Fans' content Future Content Web site Contains marketing info but transitio nto be franchise hub These fans deserve our respect and our attention.

88 Anticipate a lot of cooks in the kitchen Needs to be a central story/Theme but must be present Need to bear down one initial story Leave hooks available for DLC's Have solid ideas but not too deep Each piece must be able to stand on its own and be the best it can be. But not necessary to experience everything Don't rob the experience that players or readers have Don't be all over the place. Get reference material right from the get go. Storyworlds are actually not open. Every time you railroad players you limit experience Storyworld is alive as much as story

89 Mike Knowlton 36 hour Event 4/28 Held in Film Society Lincoln Center Teams comprised of 4 roles: Designer/write, Filmmaker, Developer, Producer/Project manager Not Difficult to produce Great for community building and an excellent way to pull developer into group Storyhack will grow your membership and increase diversity

90 "Zeega" - Transmedia software 24/7 keeps people foccussed and more "look-like" Hardware ethernet connections a must Potential sponsors include local companies Demos are key - prizes make the event feel like a true Hackathon Mentors are vital Let developers use their own environments

91 Document everything the best you can Hacks have a short half-life Have teams submit a demo-video and or treatment for their Hack Demo Days

92 Brian Clark, Founder and CEO, GMD Studios Subjectivity Our minds are the center of most everything Universe is always focussed on our minds The experience of an object is different than the object itself. The physical object Vs. the phenomenon of the object We don't know anything but what we're experiencing at that moment Don't represent the haystack but the experience of the haystack Our ideas are the products of our experiences

93 An approach that concentrates on the study of consciousness and the objects of direct experience Audience is the center of focus Intensionality - audience extends its consciousness to the thing we create Audience intensionality creates the "moment" Moby Dick now, Moby Dick when we were in our twenties The meaning of the book changed, the book didn't The sharing of an experience is the same as reviewing, reliving or telling of an "meaningful" experience Characters become surrogates for which we bond to with the meaningfullness of the experience Film maker creates 30% and the audience creates 70%

94 Phenomenology is revolutionalizing psychology, sociology, literature, architecture, art, AI and particle physics It's additive, you are no longer a writer but a "phenomenal" writer The designer now influences the universal principles of how people experience things

95 Jean-Paul Sartre Our ideas are the product of our experiences Shepard Farrey's Obey Manifesto “The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one's environment” William Castle Interactivity is the illusion of choice George Lucas - THX Media happens somewhere: that somewhere can be designed

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