Jul 062012
 

001_Darwin Walkabouts Pt 4 Litchfield National Park

I was invited to present to a small public group last month on Media Futures up in the Northern Territory here in Australia – this followed an ABC only presentation. I generally don’t do the Futurist thing, I feel uneasy, stepping into tarot, astrology or doom sayer territory, where many factors such as user behaviour, new devices or new format/marketing development are on unpredictable shifting sands. So I prefer to call my approach to future ‘no brainer’ism’. There are some things that are so obvious, in terms of where we are heading, that simple trends analyses will give us some clarity in around a 2-5 year timeframe.

I will let my long 2 hour (130 slide!) presentation speak for itself below but the premise felt pretty unremarkable from my perspective. I am worryingly developing a rather ‘elder-like’ “nothing-new-under-the-sun” attitude. Also some predictions are just too obvious. Making the jumps from smartphones to wearable computing to bionic connectivity to singularity is not what I am talking about here, but a much more near term ‘what will most of us be doing in a few years time’ – but several at the presentation apparently still had their minds blown!? I think that ailment is treatable.

The spine of the rather winding narrative arc was some simple trend extrapolation across four of the key themes and asking questions about their trajectories:

  • Social Share & Online Connection – What is the end result of ‘society’ existing mostly online?
  • On-Demand TV & Everything Else – What does it mean if appointment to view goes away, do we need to learn if everything is on tap, will a million digital campfires light up the landscape?
  • Mobile & Locationalism – We carry the world with us. But what happens when the digital world is layered over the real world?
  •  Transmedia & Content Everywhere – There are no device boundaries. When content is truly free to move across every device, will all our, stories our life memories follow us across our personal media channels?

So on with the show. Predicting Present Futures – a title really based on Marshall McLuhan’s observation

“I don’t know who discovered water, but it wasn’t a fish”

Gary Hayes, Futurist and New Media Evangelist – The media and storytelling landscape is constantly changing but in the last six years we have never seen such monumental change. Gary takes us on a journey from the old days of new media through to the very near future using current examples of the work in ABCs Multi Platform TV team through to other cutting edge examples of Augmented Reality, Transmedia, Social Media Storytelling and Games.
Gary Hayes, an award winning multi platform producer, is currently executive producer at ABC Multi Platform TV and also directs transmedia training unit StoryLabs.us. Throughout his extensive career he has worked across the UK music and multimedia industry including the development of the internet, interactive TV and cross platforms for the BBC. He is a regular keynote speaker, consultant producer in social & transmedia to the TV, Film and Arts industries. He has also been an International Interactive Emmy juror for the past three years. His media innovation blog personalizemedia. com has been in top 10 Media & Marketing for over 2 years and he runs 11 other sites linked from garyphayes.com.

Date: Sat 16 June
Time: 10am – 12pm
Venue: Browns Mart Theatre 12 Smith St, Darwin

Jan 022012
 

Originally published (& cross translated?) Oct 2011 in Wired Magazine ‘Change Accelerators‘ by Gary Hayes 5 of 5

Image by Gary Hayes

“Anyone up to battle aliens at the local museum tonight?”

It might sound like a farfetched idea at the moment, but this question may soon be another option rather than the old invitation to go see the latest 3D blockbuster at the Cineplex. The previous four posts talked about major experiential paradigm shifts, where more and more people desire to be ‘inside their entertainment’ —literally. The need to watch a show or read a good book in isolation will never go away, but right now, a new form of immersive entertainment is taking hold that sees users hyper active online and more and more participatory outside of their homes in unique, social story locative experiences. These shifts leads us to confront some basic questions, like, “What is an experience?” and “Are some experiences more engaging than others?” as well as some not-so-basic ones, the all-important, “Who will create all these new experiences?”

Designing any new media format is challenging, especially when the goal is to create highly engaging pervasive entertainment, that is more compelling than what already exists. Since the grammar has not yet been invented, for many, it presents a quantum creative leap. Right now, there is still conflicting opinion about what to call these new types of distributed stories—and let’s not mention the transmedia wars!

One of the greatest challenges for professional storytellers, who are accustomed to traditional linear plots, is to transition into a new platform. Rather than writing straight lines to be delivered from a stationary stage or studio, they are now being pushed to create content for a shifting stage or multiple shifting stages at once— often in different cities or time zones. Given the growing appetite for this type of connected, collaborative, dynamic content, the well-established line between audience and producer is becoming increasingly blurred. Right now it remains to be seen if conventional storytellers will adapt to these new demands, or if they will be outpaced by users themselves. User who are as voracious (and in some cases as adept) in creating content as they are in their insatiable consumption of it.

I was trawling the web the other week looking for a good description of levels of experience and how to design for them. What I discovered, however, is that, much like the missing lexicon, there isn’t a lot of science to this yet either. To fill the gap for now, I created a diagram to explore increasing levels of experience or engagement: It begins at the first level of physicality as the least complex and builds its way up through mental engagement, then social inclusion, and finally the emotional and spiritual levels. These last two being the hardest ones to deliver. Narrative games, like L.A. Noire and the earlier Heavy Rain and Indigo Prophesy, are brave examples of games trying to develop emotional, interactive responses (albeit skipping most of the real social & physical elements).

For audiences in the developed world, 3D and 4/5D cinema is gradually moving into the home and has the potential to make box office visits unnecessary – not worth the added effort. Audiences are starting to expect more value and more payoff for their play time (and trouble): For many, a trip out of the house to be entertained is a transmedia experience in itself. This forces new entertainment providers to seriously take these “audience journeys” into consideration. Likewise, since marketers have begun to tell more interesting stories across places and platforms, traditional writers need to get up to speed on these changes as well. Take for example, a recent holographic product display for Lego. These types of interactive promotional events work to increase the expectations across the board for what is possible in terms of entertainment.

However, film is also slowly catching up. The internationally renowned artists’ group, Blast Theory created a locative cinema project called A Machine to See With, which is a good early evolutionary example. Less about sensory immersion and more about a healthy combination of imagination and locative storytelling, the project allowed viewers to “live” inside a cinematic story unfolding on the streets of Brighton, England. According to the San Jose Biennale last year, the experience mixed documentary material, stolen thriller clichés, and the films of Jean-Luc Godard to let participants walk through the city and receive phone calls, stepping into bit parts or leading roles.

These steps are evidence that now would be a good time for these types of indie projects to start receiving the big-budget attention that clunkers like Phone Booth did. Entertainment is truly moving toward a variation of the infamous Star Trek Holodeck, a complete surround experience that fools our brains into thinking “this is really happening” or “we are really there.” Experiences can either be delivered through layered digital storyworlds, or peppered your everyday life through fragments and bits so that your real world starts to become the storyworld.

Parallel to this transmedia trend, there are complete virtual screen environments of game driven and socially focused spaces known as MMOGs (massively multiplayer online games). These alternate “worlds” are host millions of peoples ‘minds’, melded into the characters they are playing. Many approach a game with the same gravity as a method actor taking on a new role, wholly losing themselves in an alternate reality. The way people interact with these virtual selves is also rapidly changing – making new interface technologies like the Xbox Kinect and iPad/tablets some of the fastest-selling items in history.

These new forms of entertainment will require creators to become writers of place and time, creating relevant and game-like personal experiences. Let’s imagine a simple future? You are at home watching a story experience teaser on your surround 3D head mounted display. You decide to rent it with some friends and project it on your wall-size, AR home cinema screen. It sets up the challenges; you all become the heroes. You all don in-earphones and sporty AR glasses, which have tiny cameras connected to a 6G network that point out and down, tracking the external world, as well as body movements and speech.

You undergo a physical and mental training exercise in your home to prepare for the outdoor challenges. You walk outside and start to explore your city. The open park becomes a fully rendered fantasy environment; urban streets and buildings are layered with story and critical game information. You have X-ray vision; you can see inside coffee shops and stores. Past and future scenes play out before your eyes. You talk to digitally rendered, artificially intelligent characters who respond to specific questions. You work as a team and add your own story challenges. An iBrain scan afterwards let you record your experience for others in 3D.

Welcome to your personal experiential entertainment Holodeck. Of course, you can turn it off at any time and read a good book or watch a film. But that’s so 2011.

Jan 012012
 

Originally published Oct 2011 in Wired Magazine ‘Change Accelerators‘ by Gary Hayes 4 of 5

Image by Gary Hayes

When planning your next holiday to London with the fam, don’t forget to sync up your iGlasses and load up the London experience packs. On arrival, slip on your augmented reality sunglasses and take a look around: Roman-era London appears before your eyes. Slaves and gladiators walk through the streets and chariots rush past. You can add your own comments leaving virtual “We Were Here” graffiti for all time. The experience is part documentary, part user-generated narrative, and entirely pervasive. In other words, augmented reality meets living history.

In our everyday lives, we engage with stories in many ways, whether it’s eye-to-eye contact with a stranger that sparks an instant connection or a well-crafted movie or TV show. But what if we started experiencing those stories in the outernet’s layers?

While online networks are evolving traditional entertainment, such as TV and web series, we are also witnessing the rise of a new form of media called “augmented reality storytelling.” I’ve dubbed this new form of diversion ’ntertainment, as a shorthand for immersive augmented reality entertainment.

At its broadest level, augmented reality is about enhancing the physical world through digital elements, such as images, sound, and information. Now technology is enabling us to further situate and layer our digital stories in places where other narratives can’t reach. Right now, we see this happening when someone holds up a camera on an iPhone or tablet and shares objects or stories from the real world.

The opening Roman London example is based on an existing service called Londinium, which is a collaboration between the History Channel and the Museum of London using augmented reality video layered over real-world streets to re-create an alternate history. Coincidentally, London is also used as a site in the globe-spanning Ghost Tours 2.0. Haunted London encourages visitors to explore the city’s eerie side using locative AR (augmented reality). Likewise, another situated project is Witness, which draws participants into the dramatic and seedy underbelly of criminal Berlin. In this case, players are the hero: They watch graphic video scenes at different city locations and are then sent detective challenges to uncover the truth. But here’s the twist: The story might just bite you back! Augmented reality games and stories can even get physical, like the recent example of Chelsea FC playing the world’s largest Space Invaders game in a stadium using projection AR.

Gaming is leading the way. New consoles, like Vita, allow users to literally take game characters orreality fighters into the streets. Other gaming advances like AR games on Nintendo’s 3DS start to recognize place markers placed around a player’s city, transforming screen-based MMORPG(massively multiplayer online role-playing games) into an LMMOG (location-based massively multiplayer online games).

Augmented reality storytelling is starting to appear across our smart GPS mobile devices. Several marketing campaigns are taking the initiative by spearheading real-time AR challenges, such as Vodafone’s Buffer Monsters, which challenged German smartphone users to download a mobile app to capture virtual creatures and win a lifetime plan. This is only one example, other AR advergames encourage users to competitively run around cities on scavenger hunts for real-world prizes, such as the Droid Bionic AR Game. Similarly, this October, Gundam, the Japanese anime giant, release an iPhone/iPad app called Gundam Area Wars. The game uses the devices’ camera and gyroscopic sensors to show life-size 3D models situated in the player’s real-world landscape.

Given these above examples, I return to my earlier travel scenario and I wonder how commonplace it will become for people arriving in a new location to start experiencing it through augmented reality storytelling and gameplay? The traditional guidebook has already morphed into digital form. The Lonely Planet is already a downloadable app. Is it a big jump to imagine AR and location-based storytelling won’t soon allow travelers to engage history on a whole new level? One might even argue a deeper and more meaningful one than just the 2D sightseeing experience of looking at crumbling ruins. So many guidebooks have been written on the principle of making history come to life—AR actually makes it possible.

One could even take this one step further and question, why do we need to travel at all when we have our own personal Holodecks at our fingertips? Fast Company recently reported on Tour Wrist, a virtual tour that lets iPad users move around a global location with unlimited zoom and freedom. “Travelers” are virtually transported to that place and able to immerse themselves in it becoming the hero in a remotely situated, digital storyworld.

Finally, in the near future, we might all have the capability to create duplicates of our surroundings in 3D for others. This Microsoft R&D initiative to map the world uses the fastest selling piece of tech on the planet, the Xbox Kinect. This would allow everyday people to create unlimited user-generated 3D AR—foreseeable as easily as snapping a digital picture. In addition to this, there is a saturation of location-stamped social stories inside services, such as Google Earth, TagWhat, HistoryPin, Facebook Places, CheckIn+, Foursquare, and Gowalla, among others. What will result from all these stories becoming interconnected and navigable using AR devices?

From that point on, we will be co-creating an augmented entertainment eternity. Together. Will you be a part of it?

Dec 302011
 

Originally published Oct 2011 in Wired Magazine ‘Change Accelerators‘ by Gary Hayes 2 of 5

Image by Gary Hayes

The alarm rings. Get out of bed, have a shower, dress, breakfast, grab your briefcase, and bus ticket and out the door. Now start RUNNING! Zombies are chasing you. Or is it pirates? Or the Mafia? Games and stories have grown legs and Facebook MafiaWars and Playstation console games have jumped into the physical world. Welcome to the most exciting and entertaining commute of your life.

For the first time in technological history portable devices that are able to send and receive game/video media, are now location aware. This means big changes in where we experience our stories. They will be always on. Around the next corner. We will be living inside the story world.

To get a glimpse of future services in the locative, pervasive space we simply need to look at the now and extrapolate.

As kids we all loved playground games: Hide and seek, capture the flag, cowboys and Indians captivated our imaginations and it was an important part of our social development. Today adults use technology to recreate those experiences for real using our own imaginary, place-based Holodecks. Fulfilling some of our adult needs in this space, The Go Game for example advertises itself as “the future of corporate play,” team-building, and self discovery.

Beyond mapping, check-in utility, or GPS functionality, what kinds of story game and locative services will get millions off their behinds and out into the real world? It takes a lot to commit to wandering around, scavenger hunting for morsels of story. How in the future may locative gamesevolve into being mass media? Or are they really just for niche groups?

This is and has moved way out of niche already. Early locative entertainment, such as orienteering and geocaching (user-created capsules hunt) are still played regularly by five million globally. More story-driven, first-generation Alternate Reality Games with locative elements such as Gentrificationor I Love Bees, attracted several million players. LBS, or locative-based services, have radicallyaltered the social gaming landscape already in Asia for hundreds of millions. A recent Pew mobile report noted that more than half of all smartphones are used for social and utility locative services and by 2015 it will be a $21 billion industry.

What makes and will make these so compelling, to so many?

1 PLACE

The stories and games contextually fit their surroundings. The origins of this genre have often been based on architecture, audio tours, and urban map layouts, using early wearable computers or earphones. For example, back in 2004 PacManhattan re-created the 1980s game around Central Park’s grid-like streets and had hundreds of players running around collecting virtual dots. The creators wanted to:

“explore what happens when games are removed from their ‘little world’ of tabletops, televisions and computers and placed in the larger ‘real world’ of street corners, and cities.”

2 STORY

This element can put you and your friends at the center of the action. For example, “Spy Am I” a massive multiplayer locative game, lets players be the secret agent,  or live the life of a criminal. There are many story based pervasive game apps being launched on GPS enabled smartphones that let you explore your darker side such as Crime is Life or Crime Plays.

For those who want to make their real world a little bit more terrifying than it already is we have social locative games such as Zombie Apocalypse, where you have to really run, to outrun the attacking man eaters.

Speaking of running, marketers are not far behind in this race with viral examples such as Nike Grid or Mini’s Getaway (“this game has united us, it is so social”) that combined the best formula of story, game, and exercise with lots of social locative strategy.

Our locative experience tools are powerful social organizers. Everything in our future lives will be geo-tagged.

3 SOCIETY

Set in the physical world means the same tools available to storytellers and marketers are available to everybody, including activists. So the recent Occupy Wall Street meet-ups themselves begin to look like locative fiction. Hundreds of thousands of geo-tagged narratives create probably the world’s most connected locative story yet. In a similar story-world, but oddly similar in focus, Tourality and Shadow Cities get you and your friends to battle, find treasure, and lay claim to areas of the city.

Flash mobs are a form of locative storytelling, a sort of organized social Holodeck. The social unification that comes from the best of these choreographed events, beginning with Frozen Grand Central, spread around the world. They become memes copied and extended through global imitation.

The story future of this specialized entertainment format is likely to come from expert traditional cinematic and marketing storytellers. They will be experimenting and extending fictional narratives into geo space. Pandemic 1.0 by Lance Weiler & Seize the Media is an infected world extending plot lines and challenges from cinematic games three years earlier. A present day example of future locative story, this played at the Sundance Film Festival and involved the best aspects of team play, discovery, and clever use of multi-device and place.

The popularity of locative stories and games will be proportional to marketers and writers making it worth our while to ask for our stories-to-go. As the technology matures and location lock-on is instantaneous, it will truly take off. The technology already fits in with our existing out of home routines, particularly when it comes to commenting, working, eating, and entertainment.

But back home, watching a forensic cop show on the TV. At the end, you’re told to go out of the house and help track down the killer on the street, mobile locative device in hand!

What are the security implications of this? In one evening, 200,000 viewers turn into 200,000 private eyes on the streets of London?! Would you take part in these types of services?

But think, at the end of the day, as the sun sets in a dark backstreet in your hometown, your heart starts pounding again. Will you make it back home alive?

Consider yourself, entertained.

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