Not the most concise title but I wanted to cover a bit of ground with it. I am leading a week long Multi Platform development residential lab next week in the Southern Highlands of New South Wales with some of the worlds leading mentors and Australia’s top projects – all linked to Screen Australia. This is followed by a one day seminar in Melbourne called ‘Idea to Market’ and top and tailing all of this, I have taken up the Executive Producer ABC Multi Platform TV role. More on each coming up.
As you know last year I founded StoryLabs, a global transmedia IP development network, with 3 other individuals in Canada, US and UK. Then, new format funding body, Screen Australia who were looking for a very practical, production orientated rapid development structure for their Digital Ignition initiative, looked to StoryLabs.
Screen Australia has engaged transmedia collective StoryLabs to direct the first workshop, under the guidance of its key founder Gary Hayes. He is recognised as one of the foremost digital thinkers. An award-winning multi-platform producer, author, educator and director. The founding director of global multi-platform training initiative StoryLabs he has recently become Exec Producer of ABC Multi Platform TV. He was the director of AFTRS’s LAMP program for 5 years, was Senior Interactive Development Producer at the BBC for 8 years, and was a Social TV Producer in the US. Gary has designed and lead multi-platform/transmedia courses internationally and in Australia with AFTRS and Metro Screen. He also runs MUVEDesign (creating story based augmented reality, virtual worlds and transmedia) and the influential media and marketing site PersonalizeMedia.. Gary will be supported by up to eight high-calibre international and domestic experts.
“The Digital Ignition Multi-platform Clinic falls within the suite of support offered through our All Media Program, which seeks to ignite and strengthen digital understanding, expertise and activity within the Australian screen content sector,” said Screen Australia Investment Manager Mike Cowap. “We’re thrilled to be working with Gary and his StoryLabs network to make this as rich and practical a workshop as possible.”
Founder of StoryLabs Gary Hayes said, “We’ll deliver a highly structured program focused on all the important practical topics, including storytelling, user experience, design, technical, business and marketing. We’ll be using case studies and tried and tested exercises to hone participants’ processes, and ensure they leave with a tangible ‘bible’ and clear list of next steps for their project to get it off the ground.”
“so please don’t forget to support artists like myself who have never had a fair chance in the record industry” guess who…
I have talked endlessly of the best ways for corporations or brands to engage with communities inside social media and it is always fascinating to watch the first baby steps of ‘old school’ celebs or real talent (mixing metaphors) dip their first toes in. But there is also an uneasy feeling watching those ‘media enhanced’ celebs of yesteryear showing their human (everyday?) side and here are a few I stumbled across in the last week or so. Good ones, regular and keeping the punters interested with little morsels cast over the side, ugly ones (just why bother!) and bad ones (they don’t quite get it do they?).
One of the best ways for talent to engage with an audience is to carry them along through their normal daily ‘glitzy’ activities. We see this happening more obviously on twitter. Following Stephen Fry as he travels the world getting fit, making films or eating at nice restaurants. Or Richard Branson’s appearances at Virgin terminals around the globe and many more (lots on Laurel Papworth’s post Famous Twits 50 Celebrities-on-Twitter. It is even more profound for fans when they talk back and give the sense that they read ‘some’ of the many thousands of responses expectantly flying into the usual vacuum. I do wonder though whether this entry into social web by celebs is more to do with a sense that their ‘celeb’ status is decreasing – as the attention for eyeballs is democratised and top YouTubers, Flickerers, Tweeters and MySpace/FB stars mean there is much less time spent on ‘them’. So it becomes a little of, lets go down to their level? Perhaps.
One artist I have mentioned before who is trying to engage across many ‘richer’ social media channels is Imogen Heap. She has kept at it as well with a regular vlog about her new studio fit-out and 4th album. She has at least done 500+ updates on twitter, plus music/travel writing blog, social networks and so on. Here is her latest vlog (which incidentally talks about the ridiculous YouTube/Warners fiasco – them taking down fan videos with her songs on) and more positively about her ‘tweeting’ and charity twestival project.
“On a less fun note…what I actually wanted to say re: youtube videos with my music in, is that it’s been a right nightmare trying to sort out why it’s been happening coz it’s NOTHING to do with me! Total cock up, like I said. My camp is (enjoying) slapping wrists as we speak and trying to sort this mess out. I am not guilty on all counts.. so those of you blaming and bad mouthing me (you know who you are) QUIT IT! I’m one of the good guys, OK?”
It is hard for artists and celebs to bring thousands of adoring fans into their world, so like the L Word Fanisode (I wrote about many moons ago) (where the fans helped write episodes of a high quality soapy) Imogen is bringing her muso fans into the mix, literally by allowing them to add ‘music tracks’ to her raw vocals – a sort of remix but affording much more creativity on the part of the co-creative audience. (BTW re: the quotes above and below – nice to see unfettered personality here vs the measured tones of the older school celebs, who still think they are on Letterman or Parky?). Remember this is for the water charity run via Twestival FM.
“Due to legal crap and crossed wires the song never ended up being in the movie. So… rather than it go to waste.. and just sit around, I thought, for a bit of fun some of you might like to throw some music at it so it lives. A bit like that game where you draw the head on the paper, fold it over and give it to the next person to draw the body. So I’ve drawn the head. You’re turn!”
To explain the mix thing simply. Imogen has provided…
isolated vocal tracks that together sound like CLICK HERE TO LISTEN. Pretty dry, incomplete and using basic tracking software any style of music can be integrated
So a little fun while writing this blog and few minutes later – some apple loop quickies, here is a ‘world music’y’ one CLICK HERE TO LISTEN
I will actually do a proper version which involves playing tracks in! and even add some machinima (like the one I did to Speeding Cars at the bottom – but that’s another hat and another blog 🙂
Looking at other celebs joining in the social media fray it is worth comparing those with a real passion to communicate and share vs those just pushing product or perpetuating an existing image. Below we see the much more famous (perhaps) Annie Lennox doing what Imogen does but without the trappings of Imogen’s ‘work in progress’ narrative arc and Annie strangely comes across as aÂ ‘fish-out-of-water’? – nervous, not quite sure how to talk to a broader audience? I must say just sitting and talking straight at camera, regardless of who you are, exposes your human frailties – and perhaps that is what is going on here. Celebrities who were cast up by old school scarcity of distribution now trying to show to the world they are indeed real? Annie brings the music biz ‘implosion”, jokingly (but many a true word said in jest) front and center, quoting from this YouTube…
“My album the Annie Lennox collection is coming out on the 9th March, so please don’t forget to support artists like myself who have never had a fair chance in the record industry, and as its all imploding now I am really begging you to buy my album and keep me in luxury and comfort. Thankyou”
Even Francis Ford Coppola has joined in recently. Here he is, camera attached to one arm, showing us around his house and talking about his new film Tetro. Not sure of the reasoning behind it beyond the likely scenario of a younger relative saying “it would be cool if you did a vlog dad/uncle/grandad etc – it’s what all the trendy celebs are doing”
David Lynch is creating an episodic series on YouTube which is far more engaging than some of his feature films 🙂 The David Lynch Daily Weather Report sees him giving 30 second enthralling insights into the state of the sky and temperature (celcius and farenheit!) in LA. In this excerpt he takes it even further and tells us that it really is him on Twitter…remarkable stuff.
There are lots more examples no doubt (you will tell me in comments of course!) and I really wonder if we are indeed deep inside the transition now from distribution scarcity = celebrity to distribution plenty = 15 days of fame? As more and more ‘normal’ folk (those with talent who wouldn’t have been given the time of day by traditional A&R, TV or film studios) rise up to the surface – we can expect enlightened talent to meet them coming from the other direction. As media form and channels equalise a twitter star may one day be the equivalent of Shakespeare, known for writing 140 character tweets that make millions laugh and cry – in fact I do that, but for very different reasons 🙂
ADDITION: Hattip to Tanja (missglamourpuss) for the link to this video looking at the case of Trent Reznor (Nine Inch Nails) who beyond just dipping his toes in social media decided to seriously burn all bridges with the Music Biz hand that used to feed him (with the morsels they had left!). The speaker here exploring what he did (not rocket science: Connect with Fans, give them a Reason to Buy – sales 101) is Michael Masnick (Editor/President & CEO, Techdirt Blog/Floor64 and more from Wikipedia below.
“In May 2007, Reznor made a post on the official Nine Inch Nails website condemning Universal Music Groupâ€”the parent company of the band’s record label, Interscope Recordsâ€”for their pricing and distribution plans for Nine Inch Nails’ 2007 album Year Zero. He labeled the company’s retail pricing of Year Zero in Australia as “ABSURD”,concluding that “as a reward for being a ‘true fan’ you get ripped off”. Reznor went on to say that as “the climate grows more and more desperate for record labels, their answer to their mostly self-inflicted wounds seems to be to screw the consumer over even more.” Reznor’s post, specifically his criticism of the recording industry at large, elicited considerable media attention.In September 2007, Reznor continued his attack on Universal Music Group at a concert in Australia, urging fans there to “steal” his music online instead of purchasing it legally. Reznor went on to encourage the crowd to “steal and steal and steal some more and give it to all your friends and keep on stealin’.” Wikipedia
Oh and as promised a quick machinima I did to Imogen‘s ‘quaint’ track, Speeding Cars
Have we reached a tipping point – with many more user hours spent with games than films are they now more culturally relevant (as in our cultures are saturated with them)? With most films having ‘game-like’ story arcs and, at the last count, nearly 80 films with stories based on game titles in productionI am starting to think so.
Game culture and their inherent stories are now absolutely mass media. In a low risk, and dwindling film business, creating stories around experiences that people have already spent 20-40 hours immersed in the story world, is a no brainer, so what we are seeing is a threshold now of game-like films but more importantly films based on games. Anyway more after the ten minute video – stick with it.
“Playing With Stories” THE CINEMATIC GAME. A Film by GARY HAYES
I am designing curriculum for cinematic games and virtual worlds at AFTRS but also doing another report on the market potential of this cross-media, gilm (game/film) landscape. In the process again I threw together a compilation video of notable examples (I know there are at least ten times this btw!) interspersed with tasty quotations. “The Cinematic Game” was initially designed to be a look at the cross-promotion and story development potential of this most powerful mixed-media marketing machine. But, during the process though I was staggered to see the number of major feature films in production based on new and existing game universes (listed in this post below and scrolling at the end of the video) – suggesting to me a tipping point.
Game story starts to lead film development?
TV and Cinema has already become much more of a background or escapist medium for larger numbers of media consumers. In homes around the world we are spending more time in online pursuits than glued to the content breaks, in-between the advertising slots of traditional TV. We are also immersing ourselves in the social and story ‘exploration’ of the current generation of PC and console games. So how will TV and Film survive in a world where social gaming and associated peer appraisal online is far more compelling? Also given the choice will we continue to passively watch the protagonist or ‘be/live’ the hero? It is interesting to see 8000 employee EA Games now developing major strategies whereby games are made to be easily adapted to comics, books, TV and Film. In the business week article “Morphing Video Games into Movies” they note how EA are trying to emulate small non-game companies have built mini empires on their ‘story IP”
The idea is to repeat the success of companies such as Marvel Entertainment (MVL) and Hasbro (HAS), which used their base of fans to transform from marginal companies into Hollywood players. After licensing Spider-Man to Sony Pictures for a string of hit movies, Marvel has created its own studio, with Iron Man and other films set for release this summer. The Hasbro-backed Transformers movie grossed more than $400 million in 2007 global box-office sales, which in turn boosted company sales of movie-related toys and games.
It is interesting to note that the music industry is also starting to ride the coat tails of the games world. Kotaku reported on a ‘run-in’ between Warner Bros. and Activision about Guitar Hero. Suggesting the music publishers should get more royalties from games that use music, Activision’s boss Bobby Kotick hit back at Warner’s and said the following (which implied as the Kotaku item said ‘Perhaps the record companies should pay us‘)
We’re going to favour those publishers that recognise and appreciate how much we can add value to their artists… in the case of those kinds of products, you should be paying any money at all and whether it should be the reverse.
Back to the main thread of the post, it does make you wonder how many screenplay writers are sitting in front of their XBoxPS3Wii’s looking for inspiration nowadays? Variety suggests that in fact ‘all’ games could be made into movies but I will be really interested in what kind of film comes from The Sims and already know the likely story arc of MassEffect having run through it a couple of times but many others on the list below will be of interest, especially World of Warcraft which has around 4000 story threads/quests – so which story will we be ‘offered’?Films of games have had a shaky past with only a few critical successes such as Tomb Raider, Silent Hill, Resident Evil (there are several on slide 75 of my game/story presentation below, that I did several months ago) but given the serious money and credible directors such as Landau, Lucas, Speilberg, Cameron, Jackson etc: plus a deep desire to properly reflect the integrity of the ‘interactive’ experience, the tide is turning. Being an avid machinima maker I know at first hand what it means to capture the ‘essence’ of game playing, adapt it, reflect it and, if you understand the culture of the game, interpret it – the good thing is A list filmmakers (as you can hear Peter Jackson say at the end of my video) understand it too.
“AFTRS new game design and virtual world graduate diplomas will push students to go beyond the generation of clichéd actions and stereotypical characters, students of these new courses will be encouraged to step up and learn how to create meaningful interactive experiences for a variety of platforms informed by the expertise offered in all of the other creative disciplines taught at AFTRS such as directing, screen composition, screenwriting, sound design, production design and more. The field of game design and interactive experiences is equally as collaborative as the world of filmmaking, drawing together diverse specialists who together create the whole – writers, screen composers, programmers, animators, art directors – at AFTRS all of these disciplines are already housed under one roof – with a track record of cross disciplinary interaction and a staggering successful graduates.”
More about my video
A non-exhaustive compilation of story rich games or gamic films including in order of appearance: Contact, Indiana Jones, Heavy Rain, The Game, Burning Crusade, Max Payne, The Matrix, Heavenly Sword, Final Fantasy, Lord of the Rings, Ironman, Call of Duty 4, Simone, Rage, Tron, Bicentennial Man, SpiderMan 3, War of the Worlds, Tomb Raider, I am Alive, WoW Lich King, Indigo Prophesy, Jumanji, Desperate Housewives, Da Vinci Code, The Beach, Assassins Creed, Thomas Crown Affair, CSI, Halo, Resident Evil, James Bond, Sleuth, Afrika, The Godfather, The Cube, Narnia, Time Bandits, The Golden Compass, Half Life, Never Winter Nights, Silent Hill, Hellgate, Beowulf and interviews with George Lucas and Peter Jackson plus quotes from many film directors and games designers
My film contains some of the better hybrids, either films inspired by games, games inspired by films or just very rich cinematic, story or character rich games. I make no excuses that I have used a mixture of cut scenes as well as ‘real’ game play in the video – that is really to show where we are heading as game graphics continues to hurtle towards the real time equivalent of the likes of Beowulf and other ‘trickle’ rendered CG features. After the quotes and textual references from the compilation below, are more elements on this very exiting hybrid cross-story, cross-IP, cross-reality world.
I want gamers to be surprised by their own creativity. I want players to feel not like Luke Skywalker, but George Lucas Will Wright (Sims, Spore)
We’re way beyond the notion of game-as-brand-extending afterthought. Let the virtual world–the vibrant, living world that people inhabit–let that influence the movie. Let it feed back into the process and provide unparalleled riches and depth to what we’re doing
John Landau (Titanic)
Games are already good at creating fear, suspense, excitement, shocked surprise, and laughter. Much rarer are games that create genuine sadness Ã¢Â€Â¦ I have never cried during a videogame
Marc Laidlaw (Half-Life)
I think the real indicator will be when somebody confesses that they cried at level 17
When I found out one of my guildmates had died, someone with whom I had fought monsters, explored exotic lands, shared moments of jubilation and defeat, I wept. In spite of having never met him, the knowledge that we would not continue the story together, brought me great grief. Laurel Papworth
We had a notion to take the stars of the movies and have them play supportive roles in the video game and tell a story that is a companion story to the movies
Joel Silver (Matrix)
If done well, I don’t believe a videogame itself can detract from a film experience. Ideally, it would be a complement to the film and a way for fans to further involve themselves in a world once they leave the cinema
Peter Jackson, (King Kong, Lord of the Rings)
There are scenes that start in the video game and will complete the movie – ¦and fell like it’s a part and experience of the movie
Joel Silver (Matrix)
Games and MMOs in particular are providing such a sustaining experience that challenges us to make the theatrical experience better
John Landau (Titanic)
The next big emotional breakthrough in gaming is being able to tell a story that is consistent throughout the narrative. If the game is 15 levels, it’s just like 15 chapters in a story
We’re trying to understand the language of the film, but diverge in ways that are right for the game medium.
Neil Young’ EA VP (Lord of the Rings)
Games sometimes can reveal things. To watch someone in movement, unconscious movement, can be very stimulating and revealing, whether they win or not.
John Turturro (actor)
People wonder why games don’t have the same emotional palette as movies. But that’s the wrong way to look at it. It’s like saying, ‘Why isn’t radio like reading a book?’ Games, inherently, have a different emotional palette, which is their strength
Will Wright (Sims, Spore)
Alone in the Dark 2
American McGee’s Alice
BloodRayne III: Warhammer
Broken Sword: Shadow of the Templars
City of Heroes
Devil May Cry
Gears of War
God of War
Hunter: The Reckoning
Kane & Lynch
Legend: Hand of God
Metal Gear Solid
Mortal Kombat: Devastation
Paul Blart: Mall Cop
Resident Evil IV
Return to Castle Wolfenstein
Silent Hill 2
Sonic the Hedgehog
The Legend of Spyro
Tom Clancy’s Splinter Cell
Tomb Raider III
Warcraft (based on World of Warcraft)
Mixed Reality Futures
As a lead into a post about to be published I have been talking for a couple of years now (The Mixed Reality Perfect Storm ) about the fantastic potential of the live and by implication shared TV experience to be enhanced by extending the world into online games. It is exciting to think where we will be in a few years once the ‘broadcasters & studios’ realise that keeping an audience involved in the ‘IP’/programme in-between airings or sequels is a good thing. Good for the story creators, the latent creative audience and of course advertisers who need eyeballs/hands/ears/minds and hearts.
A further afterthought there are several companies around the world developing Cross-Reality forms, one that I am heavily involved with‚ The Format Factory, are pioneering formats that bridge the space between compelling participatory TV/Film and online game worlds. They have a promotional video that metaphorically demonstrates some of the ’embedded’ world-within-worlds. A trailer video teaser for the mixed reality, inhabited TV formats being pioneered and piloted by The Format Factory.