Dec 312011
 

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

Image by Gary hayes

Grab some nibbles, pour yourself a drink, and sit down. You’re now ready to immerse yourself in a TV show. And then you notice that CSI Miami is placing Facebook photos of your aunt, uncle, and cousins onto the desk of a perp. Lean forward, and keep your eyes peeled, updates from your Facebook page are about to be incorporated into your favorite TV show’s narrative. (Your best friend becomes the suspect!) As you immerse yourself in the story, the story immerses itself in your social world. In this context, online meets offline and your family and friends will never look the same again!

While this opening scenario sounds like pure fantasy, it’s not. It’s actually based on Warner Brother’s Aim High, an upcoming web series that will integrate pictures, music, and information from a viewer’s Facebook page into the video. One might call it the ultimate transmedia vanity blockbuster, where viewers are watching and playing with their own distributed, but connected story fragments. If this trend continues, soon we’ll be interacting with TV and games mashed up with our own social networks on big and small screens everywhere.

Since 2003, tools that allow people to easily create, upload, and share personal content are now commonplace. With so many people sharing their lives through networks, there is a social story revolution unfolding. There are more photos taken every two minutes today than during the entire 1800s and, as my Social Media Counter shows, most of this new content is created by individuals who used to be called the audience.

Since the late ’90s, the vision of interactive TV has been to meld this viewer-generated content into shows, particularly live TV. Today, we are taking the greatest evolutionary steps in broadcasting since the advent of live TV. In my presentation, “The Gamification of Social TV,” I examine the ways audiences are becoming more and more integrated into media, such as shows, films, games, and live events; first, there is the social level, then the participative, and finally, the inclusive.

Real-time conversation about what’s happening on TV has pretty much been with us since the beginning of mass TV in the ’50s. However, nowadays we have advanced well beyond the cord-tethered telethons of yesteryear. Today, advanced technology, like text voting, allows shows to measure the sentiment of the crowd sitting at home, not just the studio audience, in real time.

Andy Warhol famously predicted, “In the future, everyone will be world-famous for 15 minutes.” That future has arrived: We can all be stars in our own lifetimes, even if it’s just among our social network. We have become our own entertainment hubs, around which our friends and media circulate. Broadcasters and service providers have caught on to this trend, and now, entertainment-based social networking websites, like GetGlue, allow viewers to check in to movies, TV, and music. These personalized hubs fueled by recommendation and loyalty are allowing viewers to lock their worlds to TV space.

Not surprisingly, marketers are also taking notice of the advantages presented by social storytelling. A recent example is the Rommy Gulla Facebook video campaign run by Panasonic Australia. To demonstrate a new Blu-ray recorder’s ability to store 28 full days of HD content, the company developed a Truman Show-esque, promotional Facebook campaign encouraging input and social sharing.

Other online services, like Hulu, are also allowing users to bring media directly to their networks and take root inside Facebook itself, creating a forum for friends to share video content seamlessly. At the other end of the spectrum, there are options like Beckinfield Mass Participation TV, which takes social media to the nth degree by inviting users to film themselves as the stars and extend the web show format. This concept borrows from the realm of social alternate reality games, such as a World Without OilTruth About Marika, or Conspiracy for Good, which have been allowing users to write themselves into scripts and become the activist hero for quite some time now. Social media storytelling has deep roots in multiplayer role-playing gaming; in fact, the fastest growing game on Facebook at the moment is Sims, the $4 billion franchise game, where players inhabit and merge with social experiences in an alternate character-driven world.

Is alternate character acting the future? The film industry is not far behind in embracing social films. Earlier this year, Toshiba, Intel, and their ad agency Pereira & O’Dell took a gamble onInside, an interactive film experiment starring Emmy Rossum directed by D.J. Caruso. Now some people are speculating about whether or not social films are the next big thing in Hollywood. Will we see a social film revolution where plot dilemmas are handed over to the audience to experience and solve?

When it is done well, traditional storytelling married to social media is very powerful: It takes those people who want to go beyond a behind-the-scenes DVD extra into the story. While we watch to see if integrated social media entertainment will really take off, there are still some issues to consider, such as, is it invasive for characters from shows to enter an individual’s social networks? and Can a TV blockbuster become too personal?

That said, for now, I’m off to watch an episode of House, where I’m the patient!

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.

Nov 122009
 

Will the integration of Social Media into TV give the tottering Broadcast giant a well needed injection in the arm, or is it another doomed hybrid?

sky_social_xbox

Sky Social TV on XBox Platform

This pretty detailed post below looks at twenty or so of the best offerings that glue TV and Social Media together – whether its live chat on the TV screen or playing a game on your laptop/mobile/games console in sync with the TV show here are most of the already existing services in this space. We have seen two key audience behaviours happen in the past 3-4 years that change the status quo – TV on one screen, social media on the other.

UPDATE: The Guardian UK did an follow-up interview with me in reference  to this post. The article by Mercedes Bunz is called The X Factor marks the start of TV becoming social – “Emerging media producer Gary Hayes discusses the Twitter buzz around shows such as The X Factor and its implications for TV’s future”

Firstly the increased use of social media real time, communication tools (such as Twitter, SMS and Skype IM etc) means there is now a growing roar off in the distance. The viewer back channel, real time social chatter, “did you just see that”, “I don’t agree with what he just said” and most worrying for broadcasters “I’m not going to watch this again. Agree?”.

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Apr 302009
 

Clip above from the earlier Australian version of The Phone in Feb 09 & interview with its producer Chris Berry here

Interesting timing to receive a prod from the publicist of this show as I am in the middle of mentoring groups of AFTRS directing students who are developing ARG/Social Media drama. The tendency is to always over author the story environments and they turn into endless quests through fixed content but in this new hybrid form The Phone, described below, starts to mash-up urban locative quests with high production value TV crime/spy drama – a true development of form & innovation?

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