Nov 272013

I was invited to present a keynote, of sorts, at the Merging Media 2013 conference – a short and sweet two day conference featuring many great topics and good international speakers with a focus on the business/production side of multi platform but also the more usual esoteric aspects of transmedia and inherent community thinking. My talk was originally going to be a show and tell of all the new opportunities afforded to us by mobile, social & always-on networks, eye-candy with a chunk of futurist ‘my how the world is changing’ – but I decided to turn it more into a ‘what makes a compelling experience’ combined with ‘state of the industry (covered in my previous post)’ combined with a ‘process approach to creating service’,  talk instead – with a little of the navigating the new landscape for good measure. So waaay too much in the time allotted, but at least this article has room to breathe 🙂

I hope I give a flavour of the talk below. I believe Merging Media will be making videos available too – which I won’t be able to watch as I rushed the latter part :(. The first part was actually partly scripted so that made it easier to copy some of that below the slides but there is much much more afterwards with lots of embedded media, I think there is a flow in the post. Obviously the slides only tell a quarter of the story and embedded after the break, but first…

Hello and thanks for inviting me to keynote here in wonderful Vancouver. Being one quarter French Canadian I do feel a little affinity with some of you, and have enjoyed a little time exploring & capturing the environment in the two days prior to this conference. But moving on let me apologise. I have struggled hard to find an innovative new theme, any new jewels of wisdom for you to ponder and apply to your own projects. So much in the transmedia arena has been talked about, theorised and postulated as the journey has only just begun. Perhaps the journey through the presentation itself may throw up some nuggets?. The media and storytelling environment in still in major transition and I and nobody else really knows where we are going, all I can do is prepare myself and others for this change. But first:

An Organic Multiplatform Transmedia Experience?

This is where I live at the moment and where, I believe, I had a compelling multiplatform experience. It was about two weeks ago. It involved personal life and death decisions, it involved loved ones, friends who lost everything, physical exertion, quests and games, feeling part of and working with a community, rich information, lots of information, the authorities, the law, anxiety, stress, stories of loss and heroism and making profound choices.
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.

Oct 232011

I was lucky to be asked to write five articles for Wired’s Change Accelerator blog on the topic of Future of Entertainment this last week.

Guest bloggers sound off on solutions for the future. Eight change accelerators in energy, mobility and design start the conversation, and you join in.

It was certainly a challenge to not only cover the vast range of change happening but to try and combine this with some kind of narrative arc across the five posts. I deliberately kept away from areas such as AI or overtly looking at ‘gadgets or devices’ and wanted to focus on the actual user need and behaviour at a very accessible level. Also I wanted to include as many recent (the last year or so) examples of services being developed that clearly define the direction we are headed. The nice thing is the posts are brief, compared with my usual dirges!, and they seem to work well back-to-back, although quite a few ‘anomalies’ have crept in during the sub-edit process 🙂

So here is the list of my experiential & transmedia posts this week in Wired’s Change Accelerators Blog – these may be re-posted on this blog once I get the nod.

Monday – Sensory Futures, Experiential Entertainment 

Looks at the drive to more fully enclosed, sensory and imaginatively, experiences

Tuesday – Stories-To-Go. Locative Entertainment Futures

The development of narrative, game and social story spread around for us to move and play inside of

Wednesday – Personalized Entertainment – Social, Transmedia Storytelling

Our own stories merged with produced entertainment, social TV, cinema and beyond

Thursday – Through Rose-Tinted 5D Glasses – Situated Augmented Reality Entertainment 

Layering experiences over the real world, the merging of story and place

Friday – Are you Experiential? Designing for the Pervasive Entertainment Era

An article looking at the nature of experience and how we can design for the future