May 252010

…and the truth about ARGs.

Now that transmedia is everywhere and the Producers Guild of America have turned the ‘transmedia producer’ into a bona fide (or at least recognised) professional role one thing that rears it’s cross-media head is, who and where are the best transmedia producers going to come from? I have spent a good part of the last 15 years mentoring & training traditional & non-traditional media types in multiple platform content and now question where the best producers of this multifaceted ‘new’ content will come from – academia, film, book authors, social media consultants, game designers, TV, web developers, radio, advertisers, young, old, not yet born? Read on, a ‘hypothetical’ interview follows 🙂 and this is an opinion piece I cannot put in my book or lecture about!


Firstly what is it and does it actually mean anything at all? It is fantastic that the term ‘transmedia’ is now so widespread across the industry and with the official credit (attached ironically to film primarily) but is it a bubble about to burst – is what we have come to know as ‘transmedia’ in danger of being blown out of all proportion.

Here are some of the problems:

  1. Everyone is a transmedia producer – yes you’ve made a website that is attached to a TV show, your a TP. Created a mobile game that has a line or two from the comic, you’re a TP. No one will police this – is it a truly integrated story environment, does it have clever plot links or consistent characters?. A TP is a decathlete (multi-skilled, hard to get a one word answer about what they do in a bar!), gone is nice and simple mono media, a TV producer makes TV shows, film director directs films. You can be a TP if you merge your story across two or more media areas? But more on this later in the post.
  2. Transmedia as a concept is not focused. OK I know Henry Jenkin’s original definition has been spread around the web but it is a definition that is too broad. Perhaps I should exercise my floccinaucinihilipilification and suggest that something that tries to describe everything is actually worthless? Transmedia like a black hole in the universe it tries to describe sucks in everything that has come before (cross media, 360, social media, augmented reality, pervasive gaming and so on). At the other end of this spectrum citing Matrix or Blair Witch or other brand to justify the ‘field’ as mainstream it becomes apparent that the quoted definition itself is rather vacuuous. To quote Jenkins again from an LA Times article, transmedia – “means telling a story across different platforms, each element of which may or may not stand on its own but contributes to an enriched, dynamic, more participatory and “lifelike” experience.”
  3. We are still in the hype phase. Basically anything cool and different those transmedia types (and I point the finger at myself too btw) will take ownership of. I even heard the other day someone say Transmedia is the new Social media and augmented reality even gets a look in. I am not surprised those still getting their head around the ‘story’ potential of social networks or a cute mobile game find it all rather, dis-jointed. Also the increase in experimental and experiential ‘event’ based marketing suddenly meant transmedia is now inextricably linked with brand extensions (TV, film, product) – anything that is not a linear, branded film or TV show. I think for those who live in the transmedia echo chamber this has been the case for many years.
  4. It feels rather academic. Trans-media used to be an alternative semi-academic term to ‘cross-media’ (trans, from the latin ‘crossing’) but is now used to describe everything, non-linear, interactive, extension, participatory, social, brand, play, multi-platform, pervasive and so on. The idea that stories would be told in different places goes back thousands of years but in a modern media context a rich target for study and theorizing. Along came Henry Jenkins who coined the term transmedia almost a decade after the first basic cross-media incarnation. Henry admirably self confesses as being ‘too busy lecturing and presenting about transmedia, to partake’ of the industrial flavour of transmedia “some of it is not well done yet”.
  5. It is still a teenager. It has grown up before it’s time and become a troublesome big headed teenager without any true home and turned into a dysfunctional orphan at once protectively nurtured by over possessive academics, hijacked by experimental ad agencies and hardly understood by flailing stuck-in-time broadcasters. Originally cross-media was an intellectually stimulating concept – memories of mid 90s, pioneering BBC days also my old friend Brian Seth-Hurst who is “Referred to as “the father of cross platform” Hurst coined the term in 1998 as MD of Convergent Media at Pittard Sullivan”. Earlier definitions just talked about story based ‘crossing platforms’ element but since the exponential increase in social media as a place for millions to dwell it has suddenly had the participatory/social part added and also a suggestion that it is now a more integrated form of storytelling, I suppose I should have added a level 5 to my 5 year old (but about to be removed!) wikipedia cross media definition!
  6. Danger of being hijacked – Alongside all of this we have a ‘clique’ of so-called experts who try to describe something which is so simple on one hand (stuff on multiple platforms) yet so ambiguous on the other (fragmented narrative effervescence)  – time will expose the Transmedia echo chamber I suppose.

Of course I have nothing against the term per-say in the absence of alternatives having created transmedia entities/sites like or or – all transmedia in focus – but lets start thinking about the emperors clothes. Indeed the Producers Guild definition of the TP, however bold in its intention, is still a little ambiguous about the precise elements of the role to say the least

A Transmedia Narrative project or franchise must consist of three (or more) narrative storylines existing within the same fictional universe on any of the following platforms:  Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, Special Venues, DVD/Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, and other technologies that may or may not currently exist. These narrative extensions are NOT the same as repurposing material from one platform to be cut or repurposed to different platforms.

A Transmedia Producer credit is given to the person(s) responsible for a significant portion of a project’s long-term planning, development, production, and/or maintenance of narrative continuity across multiple platforms, and creation of original storylines for new platforms. Transmedia producers also create and implement interactive endeavors to unite the audience of the property with the canonical narrative and this element should be considered as valid qualification for credit as long as they are related directly to the narrative presentation of a project.

Transmedia Producers may originate with a project or be brought in at any time during the long-term rollout of a project in order to analyze, create or facilitate the life of that project and may be responsible for all or only part of the content of the project. Transmedia Producers may also be hired by or partner with companies or entities, which develop software and other technologies and who wish to showcase these inventions with compelling, immersive, multi-platform content.


But this post is not just about the word – there are hundreds of blog posts even now still trying to really get under the surface of what transmedia means and it is too easy to fall down the semantic rabbit hole of terminology and the endless subjective splits between academics, industry and wannabes. Perhaps something more concrete can be found in the ‘transmedia stuff’ itself. What is this stuff and who is making it?

Continue reading »

Feb 012009

What may save TV may also truly grow Social Virtual Worlds. As online audiences continue to ignore TV and vanilla/social virtual worlds suffer from a lack of direction, perhaps the marriage of the two will save both from irrelevancy? A report by Gary Hazlitt in various TV branded virtual world spaces.

twinityspiritThere have been several forays by TV properties (gradually losing their audience and associated ad revenues) into social virtual worlds over the past two years. I don’t just mean branded one-off events but actually setting up shop, building a familiar and representive space for the ‘users’ to play in. These forays range from at one end, simple branded spaces pushing episodes on screens through to actually running variants of the TV format to be played out by participant avatars in a detailed build -with many points in-between. But before the meat of the post (a couple of new entrants) here is a quick list to give you an idea of some of the shows and channels that have tried, had some success or failed. As I have been involved in a few of them and visited all, I have listed ones I think have had most impact (engagement) through to those who didn’t quite get it (reversioning).

  1. NBC’s Gossip Girl
  2. MTV’s – Laguna Beach on (also Hills, PimpMyRide etc)
  3. Big Brother – PersonalizeMedia detailed report & at launch
  4. Showtimes The L Word
  5. CBS -  CSI:New York and from TechCrunch
  6. Weather Channel – Info, simulations and Extreme Sports area
  7. Australia’s ABC TV Island – Channel & some programmes (eg: Librarians)
  8. NBC Universal Media Island – Channel & concerts & events
  9. London Live – the first music show to appear on the cyberchannel: Virtual Life.TV
  10. SkyNews Island – News Set role play
  11. The Money Programme BBC screening
  12. Channel 4 – Radio Station
  13. Sundance Channel – Virtual screening room
  14. Inhabited TV 1997! – BBC, BT, Illuminations and others
  15. many more…0ver to you and comments!

twinityspirit01There is a rule of thumb regarding TV execs and virtual worlds or serious games initiatives – do not let the TV folk take control as they have too much ingrained baggage around non-participatory media and the resultant compromise is often of no use to anyone – get people who understand game play (and be aware that often excludes traditional game developers) and social media involved or face the consequences. The ones above that really worked allowed the participant audience to really ‘live’ in the shoes of the characters either by having activities similar to the protagonists, meeting the ‘fictional characters’, a social space that resonated with the shows aesthetic or a great set with game-like elements. I have talked a lot about Mixed Reality Entertainment in the past and how one of the most innovative uses of virtual space is to extend the TV or Film property into a 24/7, participatory environment. The main reason for doing this is to drive traffic to the TV but also to keep existing followers loyal to the branded property. As an example there is more detail about the reasoning on my post on Big Brother (good and bad) in Second Life (Witnessing the Birth of an Entertainment Form) as well as posts nearby on CSI in Second Life and many of MTVs properties in (TV Property Branded Virtual Worlds – The Beginning). There are moves around the world including BBC and many European broadcasters who are creating worlds alongside and in some cases in front of the TV episodics and this is the important point. Promoting films with games or virtual world spaces has a very limited life span, forging a strong link between virtual world events and TV episodics is to me a virtuous circle – especially considering the 200 plus worlds populated by the youth audience who are typically turning off TV – teens and tweens. Earlier there were many experiments of TV/World hybrids and I was involved, as mentioned before, in the Mirror. Here is John Wyver (then Illuminations) talking about that (remember this is circa 1997!).

The other key element that contributed to the success of The Mirror, much as in real life, was the provision of regular “hosts” for the space. These needed to be frequent visitors who spent a significant amount of their time in the world, and whom users could have some reasonable expectation of encountering when they logged on. These hosts would greet new entrants, introduce people to each other, point out activities and generally help people around. More than this, however, over time they became the core of the community of the world, encouraging people to return and beginning to develop the particular language and culture of The Mirror. Needless to say, they were the saddest to see it turned off after seven weeks – although a number of relationships begun virtually have continued in the real world – including at least one marriage and one recently born child.

Recent company start-ups or collaborations also suggest that there are moves afoot. Icarus studios are squarely aiming at the TV/VirtualWorld hybrid and about 18 months ago Endemol & EA teamed up to create Virtual World TV formats (VirtualMe) based on Deal or No Deal and Big Brother. Also there have been a plethora of immersive film launches (play-in-the-set-type builds) across the metaverse and I Legend, Digital Hollywood, Iron Man, Quantum of Solace and Transformers spring to mind as I write – but as I said this post is more to do with a continuous, what happens on TV resonantes into the virtual world and what happens there is reflected into the TV episodics. (I regularly consult on this specific area so won’t go into any more detail!)…


So, it is interesting to see this trend continuing as new world Twinity starts to do more experiential ‘film’ property marketing and even more ‘demographically focussed’ the current series of Heroes being extended into Habbo

The agreement was brokered by the William Morris Agency and marks the first time ‘Heroes’ has partnered with a virtual world.

..but not in the usual way. As reported by LA Times “‘Heroes’ hops on to Habbo’s virtual world” they will be introducing a virtual-only character Syn Anders who will act as a bridge or guide to the TV series. NBC themselves give more detail here.

While following directions from a mysterious virtual messenger, the new character will take the audience on an adventure as she discovers the history of ‘Heroes’ through a journey that travels back and forth between and the ‘Heroes’ Evolutions site. “We’re excited to work with Habbo to introduce a new character that will extend the enormously popular and Emmy® Award winning ‘Heroes’ interactive story beyond the official Web site on,” said Stephen Andrade, senior vice president, Digital Development and General Manager, On, fans of the show will be able to interact with the new virtual hero through a variety of in-game activities. Habbos participating in a weeklong quest will discover their own special powers and will be recruited as new heroes. Those who successfully complete the mission will be awarded various virtual prizes. On the ‘Heroes’ Evolutions site, the new virtual hero will be woven into several of the in-universe, interactive extensions of the on-air show, including a character profile, the Primatech Paper Assignment Tracker and new chapters of the ‘Heroes’ graphic novels.

One of the more obvious links between TV and film of course is simply to broadcast a seed back story as a series, animated makes most sense to keep a strong visual link and then run a MMOG alongside it. This extends, involves the audience more in the narrative and allows them to personalize the experience. We are seeing this about to play out (in Asia at least) with Fusion Fall on the Cartoon network.

This is a great use of virtual worlds and it also shows that you don’t need richly rendered environments to be able to engage with participants in these spaces. Also in terms of the ‘linking’ paradigm, it is close to ‘my’ level 3 wikipedia cross-media definition

Excerpt “Cross-media 3.0“ Bridges. – The truest form of cross-media where the story or service structure is specifically authored to drive the audience using strong Call-To-Actions, across media devices to continue the journey. The content placed on the other platform is critical to staying in touch with the experience and the narrative bridges tease you towards investigating or moving to another media form/platform. Obvious examples include a TV show that ends suddenly and gives you a URL to explore more. It may be an SMS that teases and points you towards a live concert in a city square which then leads you to a TV show, then to a podcast then to subscription emails. The trigger, or bridge, is the critical component of this in motivating the cross-media action.”

twinityspirit02Onto Twinity and the images here and above are me playing around in the pre-build set of the recently released and not universally praised film The Spirit. Although it grossed $10 million in the first 4 days it was pulled up for being unemotional and 2D. Well part of the problem generally with many big features now is that audiences have changed and want something more experiential – especially with ‘comic-noir’ films – why not let them ‘live’ in the story environment (my wikipedia item)? Twinity though have teamed up with Will Eisner studios to do this event (not in any way my ideal episodic but potentially a way for the Twinity user base to ‘create episodic, comic-noir’ machinima on-going?

CineStar Spirits you Away to Another World – CineStar’s CUBIX cinema in virtual Berlin is the premiere address for all movie-related events in Twinity. The cinema is currently showing the trailer and other exciting movie material from the upcoming premiere of The Spirit, a movie based on Will Eisner’s cult 1940s comic book series, which will be coming to a cinema screen near you from 5 February.  Fans of the movie can get their hands on exclusive Spirit merchandising: including posters, standees, and an incredible Spirit mask that lets you see special visual effects inworld. Find more information here. Save the date and come to the opening party!
Date: Monday, 2 February
Time: 17:00 Berlin, 11am NYC, 00:00 Singapore
Where: CineStar CUBIX

twinityspirit03Twinity (by Metaversum, the German created virtual world) are a long ways from a mature stable platform, hence being in beta for the past 12 months or so, but are already exhibiting the best ‘world-led’ event-based, user activation. This in my mind is high on the list of reasons for likely success over many of the areas that over-hyped Second Life suffered from in the early days. OK the world is quite big and empty and many ‘social’ tools are not yet available inworld but the kind of activity quoted below (calling for videos, images, stories etc: attached to some well know brands) is great first step community building and more importantly getting a growing community to market for you. Even I had a go at one a few months ago – video embedded below 🙂 BTW Metaversum you really need to improve the video tools (detached camera please!).

Submit Your Artwork and Win! – Take part in The Spirit Screenshot and Machinima Contest and win an exclusive film poster signed by cult film director Frank Miller or The Spirit action figures.
Things Are Looking A Little Different Around Hereos
Wear the mask and see Twinity through the eyes of the Spirit! – Use Twinity’s screenshot and recording tools to create incredible Spirit- inspired images! To be eligible to win the contest, screenshots must be created while wearing the Spirit Mask and its visual effects must be demonstrated in your machinima. Screenshots may be submitted in jpg, png or gif formats.
Sensational Prizes – You have the chance to win sensational The Spirit prizes! Three prizes will be given out to the lucky winners of the Screenshot and Machinima Contest:
* 1st prize: The Spirit action figure and film poster signed by Frank Miller
* 2nd prize: The Spirit film poster signed by Frank Miller
* 3rd prize: The Spirit action figure
To take part in the contest, all you have to do is:

  • Submit your screenshots together with your Twinity name to or
  • Upload your movie to a video sharing website, for example “YouTube”, then submit the link to your uploaded video together with your Twinity name to
  • Competition deadline: 28 February 2009

We’ll celebrate the winning entries with a Winner’s Gallery party in the CineStar Event Hall! Artwork will be displayed in the CUBIX cinema during The Spirit promotion. Keep an eye on Twinity’s Event Calendar for further details!

Of course I would encourage all TV producers to think about their current audience and whether they want to reach them this way. More importantly you need to think of the appropriateness of creating inworld characters or environments for them to exist in – serious games (from documentaries) and childrens episodics are hot ones at the moment . The real effort is more about having great characters that are persistant in the space but beware of bots or NPC’s (non player characters) pretending to be real, this can have a strong counter productive effect. More later.

Nov 172008

Another selection of my items cross-posted from another of my original blogs, lamp watercooler.

The Ulitmate Mashup Launches – Sport, MMOG & Social Virtual World – 16 Oct 08

Football Superstars is the world’s first Virtual Football World. An entire online virtual world designed by football fans exclusively for football fans, where you can enjoy a massively multiplayer experience on your PC.

A service that I have been keeping an eye on because of it’s skill in combining passionate sporting fan behaviour with sticky gaming and persistent virtual worlds is Football Superstars. As well as the EA sports game type component there is the ubiquitous inworld micro-economy, buying virtual sporting goods ala Second Life and it has enormous potential for advergaming, cross branding, sponsorship and of course cross-reality (real footy alongside virtual – and combined leader boards etc:). I was one of the ones on the beta group and a few days after launch, there are 3000 registering every day with 100 000 already using it. This has been in the planning stages for 4 years and the team of 80 developers are about to make a big splash methinks! From the UK Telegraph

Football Superstars is a cross between Second Life, the virtual world game, and traditional football games such as Championship Manager and the Fifa football series.

Players can download the game and develop their football skills before participating in full 11-a-side games and, if they become sufficiently skilled, being picked for representative games and eventually international tournaments.

Off the pitch, players will be able to socialise and spend their wages in a virtual world of restaurants, bars, clubs and shops.

The Nottingham-based startup, has invested more than £5m over two years in creating Football Superstars with a team of 80 programmers.

Although the game is free to play, players will also be encouraged to spend real money on virtual clothes, boots and cars.

All the players on the pitch will be controlled by real players and they will be able to call to one another in real time using headsets and using 3D sound technology.

An unlimited number will be able to play at any one time.

The game will be another addition to the profitable Massively Multiplayer Online Games (MMOG) market. World of Warcraft, a fantasy virtual game, is the most popular and has almost 11 million paying players worldwide.

More than 100,000 people have registered and the company yesterday claimed that new registrations were running at more than 3,000 a day.

Games such as FIFA 09, produced by Electronic Arts, have recently introduced online elements that allow players on opposite sides of the world to compete against one another.

iPhone as Serious Musical Instrument? – 7 Nov 2008

There have been a few iPhone apps that suggest where things are heading, not necessarily with the iPhone as musical instrument (it is still a small toy) but with musical instruments of the future. The multi touch, inertia driven interface at larger scale is going to be very interesting as well as the proximity and connected element to those around you. I have been using toys like the realistic guitar and various drum machines and percussion effects for over a year now, but do like the new crop of instruments such as the free uFlute and the Ocarina from Smule. The video below shows the ocarina being used in ensemble mode, I am still learning the key combinations to get a decent range on it, but it is starting to feel, musical! Back to my ‘non virtual’ harp, soprano sax, guitars, aftertouch keyboard midi controllers, clarinet etc: yes the real ones!

I must say though one of the fantastic features of Ocarina though is the global view ‘lurk’ mode. When I activated this it started to feel a little like the opening of the film contact – a distant globe rotates and around it hovers music from individual players (in countries around the world) who are using the Ocarina in real time, and given the dreamy, reverberant sound it began to feel like humanities call out into the void…quite special. The video I did above captures a sense of it and it reminds me forcibly of Twittervision and the like.

Ocarina is the first true musical instrument created for the iPhone. Both experts and beginners will be amazed by this innovative player. Ocarina is sensitive to your breath, touch and movements, making it even more versatile than the original. Unlike other musical applications, there are no pre-compiled riffs so musicians will find unlimited opportunities for self-expression. Advanced options allow you to choose between diatonic, minor and harmonic scales. Or channel your favorite video game adventurer with Smule’s Zeldarian mode.

Also, like most Smule products, Ocarina is a social application. Tap on the globe icon and you will see and hear other Ocarina players throughout the world. The globe view will highlight the source of the music. Rate your favorite performances so that others may benefit from your judgment. Name your Ocarina if you want listeners around the world to identify your performances. With this robust application beautiful music is created, appreciated and shared.

Japanese Street Ads Detect You – 26 Oct 2008

A bit Minority Report Advertising beta 0.9a – Using motion detection on the street in Tokyo to advertise a Swedish Reality TV program called Big in Japan. I love the idea that your motion past a full length ad hoarding causes the image to come to life (well it starts flashing cameras and makes you the star) but that incessant screaming – please! No! It wasn’t clear if actual pictures are taken of the unsuspecting pedestrians, but heh it doesn’t really matter – they were famous for 5 seconds at the local bus shelter.

These billboards are equipped with motion detectors and speakers. As people go by they set off crazy japanese fans, cheering and taking pictures of them.

Ad supported A-list Web Programming at NBC – 9 Oct 2008

NBC have taken a bold step in making it clear that it is ramping up quality programming exclusively for the web reported by AdAge. Although the episodes are in the 4-5 minute range they will have high production values as if made for prime time TV. The whole initiative is seeking key advertisers to be there at the outset to fund some of the costs. From the article…

Big-name talent
Brent Weinstein, CEO of 60 Frames Entertainment, said having more big-name talent attached to more web-based projects has enhanced the appeal of these shows to advertisers. “Given the choice between really good content and really bad or average content, more often than not, consumers are choosing the good. And advertisers are learning it’s a more important way to reach their intended consumers,” he said. Added Mr. Death ( VP, NBC Universal Digital Studio): “Perhaps 12 months ago, A-list talent wouldn’t jump into anything in terms of a web series. But now it’s OK, and in fact they’re coming to us with ideas and projects.”

and it seems like they are attracting big names in heritage media circles pulling top script writers into this new medium which can only be a good thing as in truth the further we move from wannabees or web designers writing stories for the web the better – now onto games 🙂

But unlike a lot of web-based TV shows,’s offerings use name actors and TV-quality production values. The lineup, co-produced with 60 Frames Entertainment, includes everything from reality competition series to scripted dramas from high-profile writers such as “The Bourne Ultimatum” scribe Scott Burns (comedic drama “Love at First Sight & Other Dangers”) “Oz” creator Tom Fontana (crime drama “Men With Guns: The Assassins”) and “Big Fish” screenwriter John August (quirky comedy “The Remnants”).

LOST Extends Virtually into Second Life – 24 Sept 2008


There have been a few TV shows that have offered new and immersive experiences into collaborative virtual worlds notably MTV with Laguna Beach, The Hills, Pimp My Ride and others into as well as CSI and BigBrother (that I wrote about 2 years ago) into Second Life – and lots more. The latest entrant looks far more suited as a match for Second Life, as it more naturally reflects the story environment – being a rather deserted, desert island.

As it says in the video about this more experiential extension to LOST – “explore the island by yourself” – “or with other fans” – “find secret places” – “live like a lostie” – “or help the dharma initiative” etc etc: Couldn’t see a lot of story in this build so I suspect created by a small peripheral team?

More info at SL Lost.

Web 3.0

 Posted by on August 27, 2006 at 10:12 pm  Add comments

I have posted prolifically about MUVE’S (Multi User Virtual Environments) in the past, concentrating mainly on the ever customisable Second Life. It is interesting to watch the buzz spreading and consider if virtual worlds are really web 3.0, I think so. A quick look at the evolution of the intraweb from the mid 90’s. From text and graphics dominate 2D environments, immersive web sites with flash quickly followed combined with ubiquitous communication via IM and IRC chat. Then the early 00’s with the expontential growth of self publishing, blogs and wikis. From 2002 onwards the massive sharing social network communities of flickr and YouTube in sync with the explosion of portals containing all of the above in services such as MySpace, Yahoo and MSN etc: We are heading towards a rich media personal hub that points to and houses all of our ‘shareable’ content. But the current 2D web, mostly linear to linear linking, is about to be enhanced by virtual environments in which we meet as avatars, interact as 3D moving objects that takes sharing, co-creation and communication to the next, predictable level. The important component here is real time collaboration and communication as the paradigm shift.
Web 1.0 to 3.0

Web X.0. To me evolution of the web can be defined in single sentences:

    1.0 the pushed, one way only web
    2.0 the two-way shared web
    3.0 the real time collaborative web (3D, isometric or just 2D)

A sign that this is reaching a level of maturity is when big brands and subscriber numbers start to escalate. This item entitled Second Life Targets Existing Branded Web Communities succinctly sums up some of the major changes in one MUVE.

Major companies such as Major League Baseball, and institutions such as The University of Southern California, have already turned to Second Life to host virtual events synched with live real-world events. Organizations such as the New Media Consortium are using Second Life to convene meetings and conferences. Wells Fargo is teaching kids about finance in an engaging manner through Second Life. Clothing designers are using the community to prototype their designs and get community feedback and build buzz before they have to manufacture.

In 2 years time will the most effective way of communicating be through a variety of MUVEs rather than 2D web? As Second Life subscribers go above half a million, from less than 100 thousand less than 6 months ago one can see other players beside Linden Labs taking part of the action. Here are the Second Life stats from yesterday to give some idea of the scale

Statistics from 3:20pm Saturday 26 Aug 2006
Total Residents: 568,856
Logged In Last 60 Days: 256,425
Online Now: 8,369
US$ Spent Last 24 Hrs: 357,140

Many of the projects we are doing in LAMP start from a position of ‘experience design’ that has its ultimate incarnation in letting the users ‘live’ the story. Personalizable MUVE’s will shortly have real potential to enable any experience requirement you can throw at it. As the gaming generation take up lead roles in society (the average age of a Second Lifer is 32) I really believe that remote communication will exist more and more in virtual worlds. Entertainment, education and business is already taking root. The article continues by even pointing to the political engagement these environments afford…

Imagine a wiki-based web community now being able to collaboratively design detailed 3-dimensional objects, complete with nuanced permissions, instead of just text documents. …Imagine a dark horse political candidate with a virtual campaign headquarters in which campaign volunteers can collaborate regardless of geographic location and be trained personally by the avatars of real campaign staff, and where the candidate can conduct a virtual whistlestop tour to test new stump speeches and conversations with highly educated, affluent, and socially networked focus groups

Current MUVE’s do require decent computers, graphics and bandwidth but many millions of terminals are already capable. There are many posts that talk about a ten year from now predication of what a Virtual World may be, many not looking too deeply into the ethical or moral issues as that really is an unknown as this quickly cobbled together chart above suggests I think we are lucky to be at the dawning of ubiquitous MUVE’s across all devices (mobile devices are part of distribution in this context – not a movement in itself). The next challenge as I always point out is interoperability – how our personalized digital fingerprint can exist across an ever growing range of portals. To put it another way using the present day, can out MySpace profile work with our Second Life avatar, our flickr and YouTube accounts. Will our eBay positive rating be carried into World of Warcraft, can Amazon engines learn what we are buying in Second Life to recommend things to buy from eBay and so on. The brand and advertising targeting potential goes off the scale here. The first company that comes up with a profile engine that combines all of the above, sits above them, cross-relates them but needs to get started right now before it becomes way too complicated 😉

Posted by Gary Hayes ©2006