Dear All -
I hope I've done this reply correctly!
I thought Christy's post was really very interesting. I'm in the middle of
a new project that has a cross-media background - a film script
('E|Mission') inspired by a new device that detects mobile phone emissions
(The Electrosmog Detector) in turn inspired a series of multi-media short
stories about a fictional character called Alice and Brad, the game
character she is developing (both appear in 'E|Mission'). The multi-media
short stories also have their own blog, written by Alice herself. We are
about to launch Episode 2 at the end of January. (www.inanimatealice.com)
We are in the middle of looking into other platforms for the stories - pdas,
mobisodes, etc. We feel as though the possibilities are endless. As a
writer, I love the challenge of creating interesting and original content
that can be adapted/altered to suit different platforms. We are just at the
beginning.
Kate
www.katepullinger.com
www.inanimatealice.com
-----Original Message-----
From: Sue Thomas [mailto:[log in to unmask]]
Sent: 09 January 2006 07:21
Subject: Cross-media entertainment (was RE: [WDL] Introduction)
Thanks Christy, wow, this provides us with an awful lot to think about.
Does anyone on the list have experiences which relate to this, maybe from
the pov of writer, producer, participant, consumer? If so please do tell us
about them.
Sue
-----Original Message-----
From: Christy
To: [log in to unmask]
Sent: 1/9/2006 12:50 AM
Subject: Re: [WDL] Introduction
Hello Sue,
I'm pleased you enjoy reading WRT. :)
As for the "greatest barriers to the wider adoption of cross-media
works".
Firstly, I see cross-media works as already being a major part of
entertainment. Audiences are already using multiple media channels
(there
are so many to choose from now) and even using them concurrently (I did
a
post on stats on this type of usage here:
http://www.cross-mediaentertainment.com/index.php/2005/10/08/simultaneou
s-co
ncurrent-meshing-usage/). Part of the reason for this is the range of
media
available; the impact of episodic storytelling through TV; the use of
entertainment for marketing and so on. The later point is particularly
an
issue. I grew up watching cartoons of figures I could buy at the toy
store.
Now, I think all children's entertainment is linked to another
instantiation
in another medium (TV series, webisode, film, toy, comic and so on).
The adult version of this type of entertainment weaning is branding and
repurposing. Brands are created to be identified across different media
channels, arts types, commercially and through entertainment. Content is
also repurposed across media channels. A TV series can be viewed on an
iPod,
mobile phone, webisode and so on.
Storyworlds are no-longer perceived as being fixed to a single text.
So, we have an unprecedented range of media devices and arts types
available; audiences geared towards the long-term and multi-modal
experience
of a storyworld and a highly accessible publication channel, the
Internet.
Are there any obstacles? Yes.
a) Paradigm Shift
Writing cross-media works requires a paradigm shift for most. It is a
different relationship with the mode of publication and changes what
sort of
story is told and how. It requires the view of the storyworld as being
spread across time and space and not available in one medium and one
time.
It also requires a view of the storyworld as being an entity beyond the
media to some degree. It is something that can be experienced across
media
and arts types rather than being bound in a single medium. Here, too are
some of the inhibiting approaches I have recognised in some sessions
with
industry:
* They treat fans as post-production consumers rather than playing
in-game/in-story roles;
* They're all aware of viral marketing and consider it a fail-safe
method
for targeting and capturing audiences;
* They consider viral marketing the only marketing needed;
* They still think in terms of a single product that is released once,
so,
they default to simultaneous release rather than staggering their
products
(and even then would not consider release timing as part of the
narrative
experience);
* Most are aware of the play between fiction and reality, but do not
consider actors (performance) as a viable part of the equation (less
control
over the interface?!);
* They consider themselves as the source of all authorship, and so they
do
not consider leaning on products that are already available and they do
not
consider audience contributions as part of the work;
* Little consider "old world" media like print (novels, comics,
magazines)
and radio;
* Most did not consider merchandise, and if they did, they did not
consider
merchandise as part of the story-world;
* They see a lot of audience interaction as outside of the story and
game-world, as something that happens afterwards;
* They think episodically: all pieces in the project are autonomous and
follow one after another;
* They remediate, they redeliver linear content in new media (eg: TV via
the
web);
* They do not realise that audiences are using media differently;
* They do not realise how many devices are available and being used;
* They do not realise how many arts types they can play with...
b) Understanding Media Affordances
Good cross-media entertainment means making decisions about what media
to
use for what component of the storyworld. Media is usually for its usage
rather than its particular traits. We're still learning what are the
particular affordances of each media, and so are just experimenting with
matching the story component with the media.
Also, not many content creators are polymedia literate. We're seeing a
lot
of creators attempting to repurpose their content in other media,
without an
understanding of how it works. Should creators become versed in many
media
and/or employ others to undertake different components? In most
situations,
at present, the later is highly appropriate. Creators are experimenting
with
supplementing their original creation and so can employ others to build
on
it. However, when someone creates a cross-media work initially, they
need to
extend their skills bases and bring in others early on in the production
process. Issues of funding and authorial control can be obstacles here.
c) Understanding CME poetics
Although there are many examples of CME over time, and the area relates
to
hybrid and hypertextual arts, we are still developing the poetics of the
area. In particular, I think there are many examples of creative
distributions of storyworlds (The Matrix for instance) that lack a
pivotal
aspect of CME: cross-media navigation. Components of franchises, for
instance, do not reference each beyond the branded or abstract level.
Many
lack a referral to each component of the storyworld in each media.
d) Audience Reach
On the extreme end of CME are stories that require the audience to move
between media channels for coherence. No component on any media type is
autonomous. The problem, commercially, for this approach is the
fragmenting
of audiences. Most of the secondary media channels (3G mobile phones,
iPods
for example) have very small usage. Storyworlds that require the
audience to
sign-up or buy a product to access are huge obstacles. A large TV or
film
audience is suddenly dwindled down to a handful. The aspects of a
storyworld
that are required for coherence need to be free or easily accessible to
all
of the audience all of the time.
Another aspect of the high use of multiple media for coherence of a
story is
the amount of effort required. Alternate Reality Games (ARGs) are
excellent
examples of story/games that require the player to move across multiple
websites and media types over a lengthy period of time. This is an
obstacle
for audiences who just want to dabble or reach some point of
satisfaction
quickly.
e) Inflated Production
Moving into a multi-medium production environment increases all the
stages
of production: more technical and creative staff are required; more
equipment; longer and more complicated testing stages; longer and more
complicated network and carrier negotiations.
f) Economic Viability
The inflated production time, people and equipment increases costs.
Along
with this is the risk to ROI: fragmenting audiences (see d); fragmented
and
ill-defined ad revenue; quality of service issues (mobile phone
guarantees
of delivery of service for instance).
[Points (d), (e) and (f) were developed with the assistance of Gary
Hayes]
But, to me, the last few points are issues commercially. These do not
necessarily stop a grass-roots creator. I, for instance, am working on
my
own CME with combine low-cost items such as print and the web. Many ARGs
are
created without commercial funding and have tens of thousands of
players.
As for successful CME projects. There are projects that I would deem
good
examples of a storyworld distributed over media channels; those with
good
referrals between media; those with good ROI. They are not all the same
projects! Some pivotal examples, for various reasons, are:
The Matrix; Hitch Hikers; Blair Witch Project; The Beast;
Implementation: A
Novel; Tron movie and arcade games; Star Wars franchise & beyond;
tonyjohansen.com (2005) GoFigure.net.au, Archibald Prize entrant;
Walsh, M. and M. Malone (2005) The Killing Club, Hyperion, New York and
TV
series: One Life To Live, ABC, 2005; Atmosfear (Pressman Toy
Corp)...various
locative arts projects, and so on...
Hope this helps! Christy
-----------------------------
Date: Sat, 7 Jan 2006 15:38:09 -0000
From: Sue Thomas <[log in to unmask]>
Subject: Re: Introduction
Hi Christy
I come across WRT quite a lot and enjoy reading it. What do you think
are
the greatest barriers to the wider adoption of cross-media works?
technical?
internal concerns within the industries? marketing worries? presumably
it's
a pretty risky business in these early days. Are there any projects
you'd
identify as having been especially successful?
best
Sue
-----Original Message-----
From: Christy
To: [log in to unmask]
Sent: 1/7/2006 2:48 AM
Subject: Re: [WDL] Introduction
Hello Andrew,
I too am interested in your PhD research into adapting content to mobile
technology and the Hitch Hikers franchise. I should take this chance
then to
also introduce myself. I've been an occassional lurker on theis list
since
its beginning (through another email). I'm researching cross-media
entertainment for my PhD and for my work with industry. I work as a
cross-media mentor to the Oz film & TV industry and am also working on
my
own cross-media projects (print & web bots). I'm looking at how
narrative
changes in the cross-media paradigm (by cross-media I mean media
channels or
devices). This includes mobisodes and the like.
I have a research blog at: http://www.cross-mediaentertainment.com.
I am the co-editor of http://www.writerresponsetheory.org.
And my (not often updated) PhD project website is:
http://www.polymorphicnarrtive.org.
I look forward to hearing more about your research Andrew and Happy New
Year
to everyone on the list.
Regards,
Christy Dena
-----Original Message-----
----------------------------------------------------------------------
On 01/01/06, Andrew McKenzie <[log in to unmask]> wrote:
>
> Hi everyone,
>
> I've been lurking on the list for most of last year, and thought now
> would be an appropriate time to introduce myself.
>
> My name is Andrew McKenzie and I'm a Lecturer in Digital Media in the
> School of Communication Studies at Auckland University of Technology
> in New Zealand. I'm just about to undertake my PHD in Creative Media
> through RMIT University in Melbourne, Australia.
>
> My background prior to academia is as a screenwriter for film and
> television and digital media. My research is into areas of narrative
> structure and content creation. For my PHD I'm going to be devising
> theories surrounding the way that narrative and content must adapt for
> 3g Mobile Video technology. I'm using my thesis screenplay from my MA
> in Creative Writing as a foundation and template to producing content
> for Mobile Video.
>
> As a case study I intend to examine Douglas Adams Hitchhikers Guide to
> the Galaxy series in various forms including radio plays, novel,
> computer games, stage play, television series, and feature film and
> devise theories surrounding the relationship of character to narrative
> and exposition.
>
> I look forward to using this list to network and develop alliances.
> It does feel very lonely over this side of the world especially when
> you factor the reactive mindset of the New Zealand population in terms
> of technology uptake. For example the state broadcaster still thinks
> teletext is a pretty neat thing...
>
> Anyway best wishes to one and all, and may this be the beginning of a
> beautiful friendship.
>
> warmest regards
>
> Andrew
>
>
>
> Andrew McKenzie
> Lecturer in Digital Media
> Time-Based Media and Hypermedia
> School of Communication Studies
> Auckland University of Technology
> Private Bag 92006
> Auckland 1020
> New Zealand
>
> Phone 921-9999 extn: 7394
>
> **********
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