Transmedia and Augmented Reality

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Presentation to Ubiquitous Media Studio Palo Alto, California Robert Pratten Founder, 13 th October 2010

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Presentation, to pervasive media group, that suggests ways one might approach using AR in a transmedia experience.

Transcript of Transmedia and Augmented Reality

  • Presentation to
    Ubiquitous Media Studio
    Palo Alto, California
    Robert Pratten
    13th October 2010
  • About me
  • and in the recent past
  • Current project:
    One story, three perspectives.
    Told over three platforms: novella, web series, blog.
  • This presentation
    Intro to transmedia: basic concepts
    what is transmedia storytelling?
    types of transmedia storytelling
    why is "transmedia so popular?
    Design principals for transmedia experiences
    deciding what your goals are
    designing to achieve the goals
    how might we employ AR in an transmedia experience?
  • Part 1: Introduction to Transmedia
  • Transmedia storytelling
    is telling a story across multiple media and, although it doesnt always happen, with a degree of audience participation, interaction or collaboration
    ...with each additional media heightening the audience understanding, enjoyment and affection for the story.
  • Transmedia storytelling
  • Story and storyworld
  • Types of Transmedia
  • Franchise transmediamultiple platforms create a collection of individual experiences
  • Portmanteau transmediamultiple platforms contribute to a single experience
  • Why Transmedia
    Millennials/GenY expect it:
    simultaneous multi-platform consumption of media
    multiple media
    More audience touchpoints to aid discovery in world exploding with content
    Increased penetration of sales to existing audience
    Consumers actively avoiding ads: therefore brands seeking truly engaging experiences
    Exciting and fun: oceans of uncharted water to explore
  • Part 2: Designing your Experience
  • Anatomy of a transmedia project
    The Story
    genre, characters, location, time, plot etc.
    The Experience
    timing (commercial, context, practical)
    platforms (media, technology, physical)
    location (online, offline, geographical)
    agency (interactive, affecting, collaborative)
  • Transmedia projects
  • Storytelling Cube (RaphKoster & Rich Vogel)
    Control: How much freedom does the audience have to create their own experience and how much control will you have as the author?
    Impact: What long-lasting impact will the audience have on the evolution of the experience?
    Context: How much of the experience is based in a fictional world and how much exists in real life?
  • Transmedia Radar Diagram
    Story (strength, depth & authorial control)
    Real-world (pervasive, built around fact)
    Gaming (goals, puzzles, challenges, trophies)
    Participation (contribute, change, co-create)
    Story = importance of narrative, depth of world & degree of authorial control
    Real-world = extent to which story-experience pervades real locations & times
    Participation = ability of audience to change or contribute to the story-experience
    Gaming = audience has goal, use of puzzles, game mechanics (trophies, levels, leader boards etc.)
  • Transmedia Project Development
  • Transmedia Project Development
    AR fits here
  • Part 3: Use of Augmented Reality
  • Approaching Augmented Reality
    How might the story be best served with this platform?
    What experiences can I create?
    What content can I deliver?
    How does it fit within the storyworld?
    What business model opportunities are there?
    What audiences will be excluded/ included?
  • Augmented reality when, where, how?
    Home Away
    Public screen?
  • AR
    AR marker (offline to online)
    Narrative (video, animation, audio)
    Add interactivity to non-interactive media
    Provide contextual story
    Provide contextual content
    location-based content
    Provide audience with tools
  • is a book, video series and blog
    Authorial control is the dominant feature
    No game or puzzles even though theres some mystery in the storytelling and a few content clues
    Experience has strong link to San Francisco with exploratory content coming from real-world sources such as wikipedia, SF crime map etc.
    Theres a forum to influence future stories and the development of the character but this experience is on rails
    AR & mobile used to provide additional narrative content (sub-plot in video, audio, images) that enriches ownership of paid content (book & ebook) and exploratory content (wikipedia, coalition on homelessness in SF)
  • Infection: AR mobile game
    Location-based mobile game in which AR is used to identify infected areas of a small neighborhood. Teams complete to clean-up the hood or infect the hoodwithin a 60 min time window: point mobile camera, see infection, zap infection, get points or see no infection, create infection, get points.
    Story is used to establish the premise for the game but from then on players make their own entertainment choosing how to progress through the streets and extent of role-play
    Players have no ability to change the rules of the game or contribute content
  • CyberKiller
    Comic book series and feature film provides strong narrative thread that ties together all aspects of content.
    Game mechanics used to encourage collection of content and to establish super fan bragging rights plus puzzles and PvP used to test knowledge of storyworld to win prizes
    Some participation in the storyworld in that fans allowed to submit fan fiction and upload artwork but is mostly outside canon
    Opportunity for real-world LARP at meet-ups which again feeds into game
    AR used to provide community with fun and role-play tools - facial-recognition overlays cybernetic endoskeleton on real faces
  • - AR marker at end of chapter reveals clue that creates suspense
  • Transmedia Storyteller
    Robert Pratten