Happy Ada Lovelace day. Remarkable women. About time there was a film about her. Very nearly steampunk.
Please comment below with a link to your blog so I can put it in our blog roll.
A massive hat tip to Michael Wesch whose video “Web 2.0 … The Machine is Us/ing Us” I have watched many times with classes and conference audiences as a way of kickstarting awareness around the nature of information navigation (and so much more) on the social web.
- “The Machine is Using Us… The Machine is Us.” (mcculloughkat.wordpress.com)
- YouTube and the Meaning of Identity (heehawmarketing.typepad.com)
- “From Knowledgeable to Knowledge-able”: A Critical Summary (scottwortman.wordpress.com)
- From Knowledgeable to Knowledge-able (eapease.wordpress.com)
- “A Vision of Students Today” (dedrashi.wordpress.com)
Just discovered this rather superb resource – the Immerse transmedia database.
Love the transmedia map feature where all the platforms and properties are listed, including the main points of the storyworld.
Guest blogger Michaela, a sixth-former from Newcastle, checks out Summerbreak and TryLife – two online only transmedia shows.
@SummerBreak advertises reality when in fact it is a load of staged nonsense!
It is meant to be about following the lives of a group of teenagers in LA spending their last summer together; it seemed quite a good idea showing their life, and how they arespending the last couple of weeks together as a group of close friends.
After watching the first episode on their YouTube channel, I found that in fact it was not what I originally thought it to be. The teenagers who are part of the cast seem to be really awkward in front of the camera and their personalities seem bland and boring; considering it’s meant to be a reality series it doesn’t say much about them as people.
The cast members also have accounts on various other social media sites such as Twitter, Instagram and Tumblr so you can follow their lives there, but after seeing some of their tweets I don’t understand what’s so special about them. They are just a bunch of normal teenagers who have been put in these situations where it makes them seem that they do all sorts of activities every day when in fact they’d probably just sit at home and watch TV if it wasn’t for this ‘show’. It reminds me of something like The Only Way Essex and Made in Chelsea where there are scenes and scenarios that have been made up, and they are acting simply to create drama and tension between the cast. That does not make it a reality show!
Another show that is only viewable online is TryLife . TryLife is an interactive show where you decide what happens to the main character, with over 20 different endings depending on which options you choose. Personally I think this is a better way to use transmedia – where the viewer decides what happens to the characters rather than watching teenagers live their day to day life.
Although you can interact with the cast of SummerBreak and ask them questions about what really happens, there is no control over what happens to them, and you can’t go back and change the story to see what could have happened, which you can with TryLife. With TryLife even if you have come to an ending, you can still go back to the beginning and choose different options so you can get a different ending every time. This keeps the viewer more entertained and you can keep coming back to it, whereas with SummerBreak you get what you are given. TryLife is a lot more original than SummerBreak because stuff like SummerBreak has already been done before and it is just recycled content.
Loving the tube adverts for new film Elysium. Thanks to the good folks @SFXmagazine for photographing them for us Northerners. http://www.sfx.co.uk/2013/08/13/elysium-tube-ads-are-really-rubbing-it-in/
Also enjoying the website which tempts us to go live on Elysium and even where we can get a job . . .
The Lizzie Bennet Diaries is a modernized adaptation of the classic Jane Austen novel, Pride and Prejudice, by the aptly named Pemberley Digital, including Hank Green and streamy winner Bernie Su. The story is told primarily through Lizzie Bennet‘s Video Diaries on Youtube, while being supported by her and other characters social media streams. It was the surprise transmedia hit of 2012, our best loved love story resonating with many “viewers”, and perhaps that acquaintance helped them find their way around a familiar story presented across unfamiliar platforms.
Although you can follow the whole series through from the start, here: http://www.lizziebennet.com, wouldn’t it be nice to tweet along?
Well, you won’t have long to wait. (*UPDATED – Released Sept 2015*) It’s “Emma Approved” a YouTube adaptation of Emma – another Austen novel – is coming out of production and hitting YouTube shortly. Given the filmic treatment several times, including the nineties update “Clueless”, the story can be played for laughs as well as pathos. Will meddling Emma become the first transmedia matchmaker? Probably so.
If you’d like more Austen but in a more familiar format, the BBC’s adaptation of the PD James sequel “Death Comes to Pemberley” is filming now at Harewood House. It will air in three one-hour episodes on BBC One later this year, while PBS have already announced that they will show the series in the US.
Transmedia is about what happens when digital, social and mobile technologies are used to extend the experience of a storyworld beyond the boundaries of its primary media, whether that’s a book, a television series or a video game.
Transmedia for me is simply telling a story across more than one platform. However, I do think there are grades of transmedia, such as whether you can join the narrative at any point, or from any view point, rather than all viewers entering from the same point every time, and I hope to elaborate on this in a further post.
Interestingly, wikipedia’s “transmedia” page redirects to “transmedia storytelling” as if the word doesn’t make sense without the context of a controlled narrative.
My primary concern is figuring out whether our experience of a particular story gains anything from having content across different platforms, and if so, if there is something about the execution of the technology or story-telling that can be captured and re-used by other narratives and writers?
As this new media develops, and is augmented by perceptive and adaptive functionality, mixed with gamification and choice-driven narrative, will we discover traits that can predict success, or tropes that can quickly establish familiarity?
I believe that transmedia can deepen engagement and immersion in a storyworld, and also in learning and on my transmedia page I hope to document how that can happen, and what happens when it does.