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 292011
 

Originally published Oct 2011 in Wired Magazine ‘Change Accelerators‘ by Gary Hayes 1 of 5

Image by: Gary Hayes

We all do it.  We sit in our local multiplex waiting for the latest blockbuster film to start. The room darkens and minutes later your world has disappeared. The seats and people around you evaporate and for the next hour or so, you are living vicariously “through” the heroes in front of you. You have an out-of-body experience of sorts.

And so it has been for the last century, cinema and other large group events have fulfilled a need to be somewhere or someone else. But pervasive “surround us” technology has been quietly maturing in the background and our entertainment needs and desires are shifting. Audiences have turned into users. They want, to be part of the show, have the game surround them, influence their media, have their voices heard, and share the experience with friends—they want to not just see, but be those heroes. Because now they can.

We are living in experiential times and mass entertainment is in rapid transition. We, as producers of this content, are clearly marching down a road toward a personal entertainment Holodeck. Once the sole domain of theme parks every part of the media landscape is becoming experiential and there is a good deal evidence over the past few years of this behavioral and content media shift.

  • Cinema and home entertainment is evolving, becoming hyper-sensory, extending our sense of disbelief. There is also mass audience 3D, now with added scratch-and-sniff, smell-o-vision 4D.
  • 3D virtual game worlds are being mapped over real space. Examples such as Parallel Kingdom on smartphones or Flying Fairy and others on Sony Vita are moving outdoors.
  • Transmedia, sophisticated multiplatform storytelling embeds us into imaginary fictional story worlds. By surrounding us with a sea of content it reaches out to us across (the trans bit) our plethora of personal digital devices and channels.
  • Personalized life-games where your world and everything we do in it becomes gamified. From loyalty points to leader boards we are drawn in to a parallel, participatory social game world.
  • Augmented reality storytelling—early stages of immersive digitally layered worlds. Layers of Augmented Reality viewable on our smart-connected-camera devices surround us in media, information and story—bringing contextual entertainment to anywhere and everywhere we go.
  • Social and Live events encourage us to share our views, to extend the experience outwards into our personal networks. From Social TV through to the “look where I am” check-in apps to sticky social games and even theatrical experiences such as LARPS (live action role playing), we become part of the participatory, viral web.

Advertising is known to bring experiential marketing to new levels—surrounding us in the real world with 3D projection mapping, locative advergames, and branded flash-mobs. This shift is being driven by business too. The experiential economy has taught us that people view digital media as free, but they are willing to pay top dollar for an exclusive, all-consuming experience at a live event.

These emergent forms of media are starting to touch on virtuality, singularity, and even transhumanism as we choose entertainment that fools our minds into out-of-body, matrix-like experiences.

All of this will raise other questions such as:

  • Will heritage mono media such as print media be around in five years time?
  • Why go to the cinema when you can be in the film at home or out and about living the story?
  • Will broadcast TV become just a window on live events or will social elements evolve it?
  • Will our real world be submerged beyond recognition in layers of digital overlays?
  • Who is going to make all this stuff?

In the following four articles this week, I will try to answer some of these questions and drill down deeper into how our media world is forever being altered. From social transmedia storytelling through to pervasive all-around us locative experiences to augmented reality entertainment, I look briefly at the paradigm shifts ahead and how we as experiencers will evolve as well.

Are you experiential, yet?

Oct 232011
 

What do we really value online and can traditional publishing companies adapt quickly enough to save themselves?

Earlier this week I and a group of social media ‘influencers’ were invited to a briefing by News Ltd of their, two years in the making plans to move to Australia’s first big Freemium news content model. Basic freemium model – a range of teaser online news excerpts leading to fuller, more in-depth news stories behind a pay wall at subscription prices starting at $2.95 a week to $7.95 including the daily printed paper.

Ross Dawson, Richard Freudenstein, Tim 'Mumbrella' Burrowes - photo garyphayes

The basic details of the plan were dutifully and immediately blogged in traditional journalistic style by Ross Dawson and Tim ‘Mumbrella’ Burrowes (both featured above with Richard Freudenstein CEO of the Australian). But alternate opinions are surfacing from other online ‘influencers’ who were there – including Laurel Papworth (who just published a thoughtful Paywall for News.com and Online Community Social Media), Gavin Heaton (his tweet compilation) Tiphereth GloriaKatie ChatfieldCraig WilsonBronwen Clune and Karalee Evans. Some were feeling privileged to be at this briefing (in advance of traditional media – who of course are competitors so why not invite the ‘independent voice’) but others were confused regarding the actual value proposition being put forward.

Firstly hats off to the large News Ltd operation for taking this ‘if we don’t were damned’ and ‘if we do were also damned’, step. Also for setting up a no-mans land, bridging site, looking at the Future of Journalism. It is really the only thing they can really do at this juncture – so it all comes down to ‘how’ they do it. I and others pointed out during the session that regardless of the mammoth ‘back-end’ production, business and editorial systems upgrade, it really boils down to IF users like the taste of this particular flavour of digital content. Is there a demand for your ‘paid for’ product?

Some heritage news orgs are starting to turn the corner of this ‘experiment’ of course while others have just crashed and burned. Yesterday AdAge reported on New York Times just keeping it’s head above the water with it’s 324 000 and climbing, digital subscribers. It announced that, as it’s print ads decline by 10.4% a quarter it’s digital ads (up 6.2%) and increasing subscribers online are balancing the books, just.

Within the company’s news media division, which includes The New York Times itself as well as the Boston Globe and other newspapers, digital-ad revenue increased 6.2% — slower growth than in the second quarter — while print-ad revenue dropped 10.4% — a sharper decline than last quarter.

In a world of scarcity asking people to pay for ‘information’ or stories about themselves and the wider world makes sense. Get that. But in a world where digital, to a growing number, means free access, open re-distribution, self-publishing and outright plagiarism of those same stories, will ‘paid for news’ ever work?

Lets step back from the granularity of price points and production challenges covered by others for the moment and without getting bogged down in journalistic integrity or endless ‘manipulative’ stats, lets get back to basics.

Continue reading »

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

 

12 pages