The Fragments of Play - Transocialmedia Entertainment

inter-connected, co-created social media entertainment
THE FRAGMENTS OF PLAY
Thanks for the invite to talk at the
about 2009 IADIS International Conference,
Game and Entertainment, Technologies,
gary hayes Algarve, Portugal, 17 - 19 June.
http://www.gaming-conf.org/ in
Games & Entertainment

Gary Hayes, Director LAMP@AFTRS & CCO MUVEDesign
personalizemedia.com - muvedesign.com - lamp.edu.au - gary.hayes@aftrs.edu.au

inter-connected, co-created social media entertainment A little more about
THE FRAGMENTS OF PLAY my background and
perspectives for this talk

Service provider, content producer, strategist, director, web 2.0 ‘generator’
•Film/TV Composer/Producer, Lecturer, Filmmaker then editor BBC
•BBC Senior Dev Producer Broadcast TV, New Media & Broadband TV - 8 years
•Personal TV / standards - TV-Anytime, MPEG 7/21
•Advanced Media - Australian Lab for Advanced Media Production
•Virtual World Creator, MUVEDesign & Machinima Maker
•9th Top Blog Media and Marketing Australia (210th worldwide)


Notable
background in early
socialized TV, namely snr
dev producer at BBC
interactive TV



The Lab for Advanced
Media Production - responsible
for proof of concept development
of 61 Social Media Entertainment
services



Building a Creative Innovation Economy, A Cultural Ministers Council report
from February 2008.

“The creative sector must engage with the community to ensure ongoing support and
survival in a global environment where there is increasing competition for
consumers’ disposable time and dollars from an ever-expanding choiceLAMP methodology
of leisure
recognised at
services and products. In this sense, user created content on social media web
government level
services such as YouTube and MySpace can be seen as competition for cultural
audiences’ attention.

The Australian Film, Television and Radio School’s Laboratory of Advanced Media
Production (LAMP) is another example of an innovative approach to training.
The program enables the conception and development of multimedia content
and services in a live-in setting, facilitating collaboration between project teams
and mentors. The four stage process equips participants with the tools they need to
create compelling interactive content that meets the needs of their audiences and
marketplaces. LAMP offers participants a healthy mix of creativity, business
awareness, technical skills and audience awareness.”



Typical example -
Scorched Scorched is a TV docodrama but
has whole range of social web activity
featuring story, characters long
before and after


THE FRAGMENTS OF PLAY The focus of today is
about developing alongside game
communities, giving them tools,
learning from them about what they see

my talk structure as immersive social game play.
Iteratively developing with the larger
user base, they are the new
R&D labs
1 transocialmedia environment & the digital playground
2 fragments of co-created play online
3 physical, tribal and role play
4 the implications of democratised game development



“We live in exciting times”

THE BIGGEST TRANSITION IN
MEDIA SINCE MEDIA BEGAN

Scheduled local >> Global On-Demand
Hardly connected >> Immersed Social Networks
Scarcity of distribution >> Democratisation
Linear >> Compelling Transmedia Play



1 “transocialmedia environment & the digital playground”
Strong metaphors
between online play and
‘childlike’ physical play.

Picture from item - Have Children Really Forgotten How to Play? - http://www.ﬂatrock.org.nz



cross media
trans Evolution of the term
transocialmedia - the
social component of
cross-media play

transocialmedia
play


Triangle that represents
the 3 key areas of physical,
tribal (2d social) & role (3d
worlds). Also key, the hybrid
services that result at the
corners - mash-ups



Rare to ﬁnd services that
incorporate all sides of transocialmedia
triangle - eg: here is a small game I
developed for A LAMP live in lab. Uses
mobile, virtual world & physical
locations etc:


THE FRAGMENTS OF PLAY A problem at the
moment is lack of
interoperability between
game forms as well as the
social web - more later



Cross-Media - wikipedia item by Gary Hayes
A deﬁnition of cross-media
levels I put on wikipedia 3 years
ago. The area I am presenting
Cross-media 1.0 – Push. Minor variations of the same content placed on different platforms. E.g.:
A slight re-edit of the audio for podcast or a transcript diced and sliced alongside here is thewebsite
for a making of type ‘distributed’ play
and more of now, watch the TV show on the TV, web or the DVB-H or 3Gmodel, experience design. Where
mobile phone or an iPod
video download. game elements are spread and
collaborative
Cross-media 2.0 – Extras. Content that is already being produced but not destined to be delivered
and repackaged onto other platforms so it appeared to be ʻoriginalʼ or at least specially created.
More about the wonders of a good content management system than the true potential of cross-
media.

Cross-media 3.0 – Bridges. Where most innovative 360 thinking is currently rooted - where the
content placed on the other platform is critical to staying in touch with the narrative or service.The
narratives tease you towards investigating or moving (via a bridge) to another media form/platform.

Cross-media 4.0 – Experience. To some extent this is producer ʻhands-offʼ- in that they have
created an environment, much like a game, that the participant/s ʻlivesʼ inside of, following their own
path, personalizing the experience. A cross-media 4.0 property is at its height a creation, a
collaboration with the audience across many devices, which evolves and grows a life of its own.



collaborative play
Many terms are used
to describe games and
pervasive games activities that come out of
collaborative play

scavenger hunts
collective intelligence
wisdom of the crowds
crowd sourcing
web quests
ﬂash mobs


AGENCY
Jane McGonigal amongst
others have looked at how
Happiness comes from Agency games are so empowering. Last
year games were aligned with
1) Satisfying work happiness.
2) Experience of being good at something
3) Time spent with people we like
4) The chance to be part of something bigger than
ourselves

Games and particularly customisable games gives you
the above better than anything else.
Jane McGonigal


But Edgar Dale
was also very aware of the
empowerment potential of
‘direct purposeful experiences’
for depth of experience 50+
years ago
THE EDGAR DALE CONE
OF EXPERIENCE c. 1946

INCORRECT

http://www.willatworklearning.com/2006/05/people_remember.html

CORRECT



While we are
looking back Mr McLuhan
Tribalization announced in 1960 the
concept of tribes and
tribal play.

Marshall McLuhan: the global village
Broadcast Date: May 18, 1960


THE FRAGMENTS OF PLAY I have talked for many
years also about the shift to
real time co-creation &
virtuality



2 “fragments of co-created play online”
Section 2 - lets look
at some useful examples of
what we mean by play across
2D social media



THE FRAGMENTS OF PLAY Look at audiences beyond
demographic (x,y) or even
The psychographically fragmented audience psychographic


THE FRAGMENTS OF PLAY Think of types of groups
that are self selecting across
The psychographically fragmented audience 2D social media

Succeeder
Resigned
Explorer

Struggler

Reformer
Aspirer
Mainstreamer

THE FRAGMENTS OF PLAY Given the tools and
distribution user groups are
creating their own games, on
their terms


Everyone takes part in the
inter-connected, co-created social media entertainment game - the sharers often have
THE FRAGMENTS OF PLAY more inﬂuence in the social
media game than the creators!



Everything online is a
game? Let’s dig a tiny bit
deeper

let the games begin
whenever 2 or more people are connected online



Some areas where
the social networks are
designing their own games
regardless of industry



2D social media is a game,
much the same as life is



Game of email -
whether political or social,
we all play it. BCC is my
favourite tool?!


We have
become blasé with online banking
& credit cards, virtualising real money to
almost trading games. Socialising ﬂickr,
gaming to get more views?


inter-connected, co-created social media entertainment Twitter is a
THE FRAGMENTS OF PLAY very simple ‘tribal’
service. Getting followers,
retweets, driving trends
all game like


But simple and sophisticated
games are already used by millions.
The meme paradigm - hastag
collaborative story & games such as
spymaster



YouTube has lots of
examples of non-linear video
games


THE FRAGMENTS OF PLAY But YouTube has much
deeper social games. Ratings
votes have value but much less
than deep comments and rich
media responses



A very popular
social game - bidding on that
special item on eBay. Or even
spectating a good bidding
war



Everyone can be a
mobile broadcaster and this
social tool is used
extensively


With portable web
cams and captive web
audiences, mod my life
services are possible


THE FRAGMENTS OF PLAY Jumping temporarily to 3D
worlds - the vibrant edu, creative &
business communities in second life
captured as if TV for and by the
community in collaboration with
LAMP related SLCN.tv


Mogulus allows
interest groups to be
their own channel of interest
- same tools as traditional
TV


THE FRAGMENTS OF PLAY A fascinating mash-up. Groups
playing in game, but out of story -
creating new types of games. Bowling
humans on the runway in GTAIV! The
back-channel is key here for
observers


UStream now
ubiquitous for old
fashioned ‘Interactive TV’ on
the web type games.
Quizzes etc:



http://akoha.com/

Akoha is the
world’s ﬁrst social
reality game where
you can earn points
by playing real-
world missions with
your friends.
Missions might
include giving
someone your
favorite book,
inviting a friend for
drinks, or buying a
friend some
chocolate.



implications

what role do
professional
game creators
play in this
environment?

It is hard for
industry to really produce
deep social media game forms -
existing entertainment brands or
educational ‘sims’ fair much
better


THE FRAGMENTS OF PLAY Trad broadcast TV hasn’t a
snowballs chance in hell of
keeping up now - unless it really
feeds the backchannel and
incorporates it into live shows

socialized tv?


Making TV interactive and
personal can work - but needs
comparative backchannel as in
The National IQ Test this series that had up to 8
million players!
The National 2002 Test
The National Relationship Test
The National IQ Test 2003
socialized tv?
The National Quiz
The 2003 Test
The Great British Test
The IQ Test 2004
The Popular Music Test
The 2004 Test
The Big Entertainment Test
The 20th Century Test
Know Your English Test
How to Sleep Better



3 “physical, tribal and role play” We can partly map
locative, 2d social and 3d
worlds to physical, tribal &
RPG respectively




“I think we're on a threshold of a new way to tell
stories... It's a form of entertainment that's not a game
and it's not a film. It's a filmic game experience.”
Peter Jackson Lord of the Rings etc:



Laurel will look at
this in more depth later in
the week in the other
conference but for now...



I am interested in
appropriate adaptations and
effective affordances across
each element of the social 2
& 3D web



What are users doing
in terms of creating new
experiences in existing 3D
worlds


A continuum I
suggest from writer
authored games through to
STORY ENVIRONMENTS INTRO vanilla customisable
worlds
Writer Authored

Player Authored
ye Cs

pla PG
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nts e
NP ixe
pla y NP

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ye

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t li M

ele th g
Cs

me
gle nl

jus rm M
wi PG

wi imal
sin th o

ga
wi
OR
th

th

wi e fo
wi

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W
MM

Mi

SV
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Fre
RP

th

SV
key
•MMORPG - massively multiplayer online role playing game
•NPC - non player characters
•SVW - social virtual worlds



If games are going to be a true
dominant art form in this century,
we have to elevate them beyond
the simple mechanics of the
gameplay or the graphics.

All that matters is actually the
experience. When we realised
this, that’s when we started
focusing on story.

Denis Dyack (Canadian Games
Developer)



THE STORY ENVIRONMENT
Places Where People Want to Tell Stories that
themselves are the Tools to Tell them


My wikipedia item on Story
Environments.

From participant authored to writer authored
Level 1 - Shared
Level 2 - Seeded
Level 3 - Influenced
Level 4 - Character
Level 5 - Scripted
Gary’s wikipedia item



Story Environments
Level 1 - Shared
Inhabitants create their own stories and shared mythology in a non specific narrative space.

Level 2 - Seeded
Catalyst writer/actor role plays and brings others into their story world in a generic narrative space
Very interested
in
Level 3 - Influenced
how users are creating deep
1. Static - The environment is rich but only communicates in a visual static way role play games in Level 4
Story Environments
2. Living - The environment speaks to you, a monologue, pushes story at you eg; ghosts, residual lives,
placed signage etc:
3. Dynamic - You have a dialogue with the environment which responds to most things you do. E.g.:
objects and bots respond to your chat

Level 4 - Character
Environments that are richly rendered with strong back-stories and require you to improvise around a
range character definitions with others who are also role playing.
1. Improvised - human
2. Non-player characters are key role players

Level 5 - Scripted
The most passive where you inhabit a scripted part using two methods depending on the technology
1. Automatically animating you and talking for you with others (automated) in group scenes
2. You deliver a pre-set script as actor



[19:53] Damienn Kiranov: "Well... could be worse.... We
could be like some of these other couples I've seen in
this city. You know, where they decide to have an 'Open
relationship' and it ends with them breaking up via
holding each other a gunpoint." He grabs another slice
and takes a bite, closing his box after eating nearly half
the pizza.
[19:53] Leigh Parx (Kayleigh Jigsaw) shrugged slightly.
"Careful with it though. First boyfriend I ever had called
me that when he met Daddy and Daddy bout shot tha
shit outta him. Right in front of the PD, too."
[19:53] Candy Sperber orders her orange juice and
looks again at Denise. Lowering her voice she gets
closer to her 'alright, he's not your boyfriend... he's the
one that makes your heart go bum bum, right? wont
mention the name but he probably went after the one
that did that to you and I dont think they had a nice
conversation, right?' she goes back to her salad and Power RPG creators in
waits for the answer, and her juice Second Life, creating
[19:54] Esha Rajal just shook her head and continued environment & characters &
to sip her beer. "Could be worse, I guess. Like that dog, deep back story for real time
in that movie... Old old one. Where he named his dog
'Shithead'? Yeah, that one." games
[19:55] Mera nods: "Yeah I could not stand an open
relationship... I'm to jealous for it... I would die.....
through that..."
[19:55] Ember Ronas lifts a brow at Leigh, then turns
and lifts the other one at Esha. Whoa. Talk about name
rape. She just sips on her water, looking a bit thoughful
for the time being. She was in her own head alotHayes, Director LAMP@AFTRS & CCO MUVEDesign
Gary today,
it seemed a safe place. personalizemedia.com - muvedesign.com - lamp.edu.au - gary.hayes@aftrs.edu.au


[19:45] Aranea Cullen: He would bow his head with a
deep sigh as the little one would almost seem to protect
him. His head would turn slowly like a vulture from
behind the boy to peer at Luk. "The children have nothing
to fear from me, as I have said before, I am indeed
someone to be feared but never by the children, and it
pains me the boy still fears and bends ears to try and
bring about my downfall.... dispite my earnest appologies,
my regrets for my insanity... and my attempts to make
amends that have gone unforgiven or noticed. " He takes
a deep breath. "The boy has nothing to fear from me."
[19:46] Lukash Hallard clears his throat "ahem...jus' da
boys?"
[19:46] Fern Sabre slips in the front door looking for
Luk, and is suprised at the amount of people in the
church. She nods to him and smiles. She rather liked being
in here.
[19:50] Leigh Parx (Kayleigh Jigsaw) had kept her face
perfectly straight and been dead serious. Leigh wasn't
joking. She frequently introduced herself as Jeff or Jess to Some of these community
those she didn't know and had no reason to trust. Few developed sims are 4 years old
were trusted with her real name straight off in an effort and the environments and
to keep herself safe and from being a liability to her characters likewise
father. Jeff was a name someone had actually given her
ﬁguring it was preferable to the Asphault someone else
had said was her real name. Leigh had almost as many
names as she did ﬁngers. She shook her head slightly and
rolled her eyes as she acquired yet -another- name.
"Second name a cop's given me. Got named Jeff cuz this
other chick who used ta be a cop kinda felt sorry for meDirector LAMP@AFTRS & CCO MUVEDesign
Gary Hayes,
given ma dad named me Asphault and all." personalizemedia.com - muvedesign.com - lamp.edu.au - gary.hayes@aftrs.edu.au

Users immersed in game
worlds - once past the provided
game story want to share new
stories - their new game stories.
MACHINIMA ENGINES Game devs do well to provide
easy tools to do this
Age of Conan Heavenly Sword Movie Storm
Antics Grand Theft Auto Never Winter Nights
Armed Assault Guild Wars Runescape
Battleﬁeld Half-Life Quake
Call of Duty 4 Halo Second Life
City of Heroes Heavy Metal Spore
Crackdown Iron Man Star Wars Galaxies
Crysis iClone Super Smash Bros
Doom 3 Jumper The Movies
Everquest Lithtech The Sims
Far Cry Max Payne Total War
FEAR Medal of Honour Unreal
Gears of War Metal Gear Warhammer
World of Warcraft


Never forget the reach of
machinima for the bigger
MMOGs

8.5 millions views



More time spent watching
each others stories than TV or
even the ofﬁcial game trailers

300 days!


inter-connected, co-created social media entertainment Death, marriage and even
THE FRAGMENTS OF PLAY homages to content off the
2D social web - eg: wheres is
Life in Game Matt has 20+ versions for
World of Warcraft!


inter-connected, co-created social media entertainment Collaborative
THE FRAGMENTS OF PLAY performance in virtual
space - 100s of logged in
Adapted Form - Live Performance in Virtual Worlds avatars “playing live shows”
and much of it is high quality
and very artistic

Machinima by Gary Hayes of DCSpensley’s SkyDancers

Machinima by Gary Hayes of Full 45 minute performance of
PinkFloyds The Wall by CARP



Escape City 17 Live Action & Half Life - Budget $500
The Half Life engine
has been used as the basis
of many mods - more
signiﬁcant is the use for
combined ‘physical’ & 3D
space hybrid ﬁlms


GTAIV - sharing ‘misuse’ of
the game socially - here to
show the best ‘falling/collision’
scenes. Purely for peers.



ARE BROADCAST GAMES ENOUGH?
Story vs Puzzle vs Replayability
•Sample media research, in-game advertising models suggest “Players
tend to solve the puzzle within 6 sittings then abandon the game”
•On various games forums hardcore players say they will play a game
5-10 times.
•Game play is around 20-30 hours average.
•GTA4 has up to 100 hours of gameplay by playing the main story and
side stories


this is not enough?!

The AAA game world
are falling way behind what a
social 3D world growing user
base need. Spore & Little Big
Planet drop in Ocean...?



Social games in physical
world - heavily documented.
But there are more accessible
new kids on the block - that
really enhance locative social
games



Where 3D worlds http://beyondreality.nl/
meet real world - either as
objects in free physical space
or layered in synch with real
environment
Beyond Reality is the
future of ultimate
game experience;
combining real and
virtual worlds. With a
suite of Augmented
Reality Games,
Beyond Reality
introduces AR Games
to the mass market by
bridging the gab
between classic
board games and
video games. Seeing
is believing!



Advertising http://twurl.nl/j86uvo
industry catching up with
pure, PC Augmented Reality...it
is moving outside as we
speak!


Surrounding the game
player with 3D worlds - a real
installation at University of
New South Wales

iCinema
UNSW


An evolutionary perspective
here the tracks of telecoms,
video, computing and game
platforms over the last 100
years. Does it all lead to the
iPhone - perhaps?...


inter-connected, co-created social media relative open
The entertainment
THE FRAGMENTS OF PLAY development meaning thousands
can get involved in apps related to
locative and physical games means
the iPhone is revolutionising the
industry and the form

Rhythmic tap applications

Lyric, video & audio collab apps
Touch triggered instruments

Analysis applications
3D game world apps

Publishing apps
Voice or wind triggered instruments Multi choice av apps


THE FRAGMENTS OF PLAY ARGs are one
incarnation of distributed
play - but an important minority
One type of collaborative play to study as a form thathttp://www.argology.org/_what-is-an-arg/
activity is
truly transocialmedia

Alternate Reality Games (ARGs) tell stories through narrative elements that are distributed
across various platforms. These game variables are carefully concealed from players until
appropriate moments determined by the game designer(s). Game play involves players
working collaboratively through email, phone/sms contact, real-time interactions and
extensive online engagement. Players generally react to narrative cues that are projected
across numerous forms of media. These include media technologies that are not traditionally
associated with games that, unlike ARGs, rely on a single platform for communication (eg
console games). In doing so, ARGs make players step outside the restrictions of mono-genre
game boundaries.

Instead of requiring the player to enter a ﬁctional game world, ARG designers attempt to
enmesh the game within the fabric of the player’s real world by harnessing as many media
technologies and interfaces as possible. By doing so, ARGs expand the frame for the game
beyond the computer monitor or television screen, effectively making the entire world the
“game board.”



Some ARG Developers
A few key examples of an
evolving form with 42 Entertainment
proportionally high levels of Aporia CME
empowerment ARGstudios (Dave Szulborski)
Big Spaceship
Campfire Media
Darklight Interactive
Fourth Wall Studios
Well known ARGs GMD Studios
Hoodlum
THE ART OF THE H3IST - 500,000 story participants Jengibre
THE BEAST - 3 million+ players Mind Candy
I LOVE BEES - * 3 million+ players nDreams
LAST CALL POKER - 1.2 million players Phantom Compass
THE LOST EXPERIENCE - 80 000 players Six to Start
FALLEN - 1/2 Million players Stitch Media
REGENESIS - 2000 players Studio Cypher
WORLD WITHOUT OIL - 4000 players Xenophile Media
Writerguy (Ken Eklund)
LAMP’s miniARGs - mARGs

Highly social and large scale -
The Lost Ring one of the best examples of
industry meeting social media &
no 3D worlds in sight :)

The Lost Ring was an alternate reality game (ARG) initiated by McDonald's, as part of their marketing for the 2008 Olympic Games in Beijing, China. A co-
production between McDonald's, AKQA, and Jane McGonigal, the game was notable for its global scope: taking place across six continents, in seven languages,
and running for six months (29 February - 24 August 2008). It began with six amnesiac athletes with strange tattoos, and culminated in the "revivial" of a
ﬁctional Ancient Olympic sport - which the narrative described as having disappeared 2000 years ago before the events of the game.[1]



A World Without Oil http://worldwithoutoil.org/

Low participation but a
signiﬁcant step by Jane McGonigal -
Superstruct which followed was similar -
but with better marketing these social
serious game forms cross all
platforms



The Lost Experience

The original LOST ARG vs the
dumbed down CDROM’esque 2nd
one - meant the backchannels, forums
etc: were the main breeding/battle
ground for the game



The Lost Experience
Fan ARG

and a strong fan base for
LOST means they will develop
whole game experiences
themselves. Here a recent LOST
ARG trailhead on Twitter



Some story brands and
advertising agencies are playing
in this space with mixed results
eg: terminator


inter-connected, co-created social media entertainment The remixing
paradigm. Give communities
tools and quality assets to remix
your ﬁlm/ads etc: They will reward
professional creators with
brand loyalty



4 “the implications of democratised game development”
In summary - what does it
mean if games are casual,
social and being devised ‘in’
communities




“The reason were all struggling to identify new
business models is because the audience hasn’t told
us what they are yet. TV will continue to grow, but
we need to rid ourselves of past expectations of
what that means”
Gary Carter, CCO Freemantle


Firstly lets forget about the
technology and look to the
service level....



...for true
transocialmedia we need to
engage with communities an
learn how to bridge artiﬁcia
disconnected form



The Future of Games is about Social is about Entertainment is about Trade (b2c, c2c)

Yesterday Strategy Analytics worldwide social virtual worlds a 23% CAGR from 2009-2015.

Microtransactions are expected to grow $1 billion in 2008 to $17.3 billion in 2015 accounting for
approximately 86% of the revenue generated by virtual worlds.

"The high conversion of registrants to active users demonstrates that users are ﬁnding value - in the form of
entertainment, engagement, and social interaction," Barry Gilbert,Vice President of the Strategy Analytics Gaming
Sector "Access to virtual worlds across a variety of platforms, from consoles to mobile devices, will help catalyze
growth."

Cumulative Global Unique Virtual World Registrants (Millions)

2009 2015 Been deliberately strict
Adult 11.5 32.5 on not having too many stats
Tween/Teen 125 395.6 - here are some signiﬁcant
Kids 50 209.9 numbers though today from
Total 186.5 638 Strategy Analytics



THE FORMER, PASSIVE USERS ARE NOW
DEFINING THE NEW GAME BATTLEFIELD

To attract users across the range of media delivered across a sea of devices and
delivery channels:
• The users want ‘their’ play to be available on any and all platforms at any time
• Users want to be able to push and pull their game content without barriers
• Professional producers will differentiate themselves from viewer created content by
creating interactive cross-media, rather than mono-media and telling ‘crafted’ stories,
that incorporates ‘user & community created authenticity



The future of games is a “...the definition of
dialogue between modern entertainment in
professional creators this environment. You
and a user base that is need to make a gesture
allowed to be a part of towards the audience,
the game development the audience will pick up
that gesture up and start
team. Any games
to explore the
designer that doesn’t possibilities. So rather
utilize the social aspects than being producers of
of games, listen and act entertainment you
on user input will should consider you
become are more like curators
irrelevant in this kind of
environment – that’s a
very, very significant
paradigm shift…”
Gary Carter, CCO Freemantle,
Milia 06



THANKYOU
Blogs- wikis

* Main Media WP Blog www.personalizemedia.com
* JustVirtual Virtual World POV Blog www.justvirtual.com
* Laboratory for Advanced Media Production blog www.lamp.edu.au
* GaryHayes.tv Participatory Interactive TV www.garyhayes.tv
* Multi User Virtual Environment Design www.muvedesign.com
* Korkyt Music www.korkyt.net
* LAMP Media Wiki www.lamp.edu.au/wiki/

Web 2.0/3.0 Social Networks

* TWITTER http://twitter.com/GaryPHayes
* YouTube ʻThe Machinimaʼ Icarus Channel http://www.youtube.com/hayesg01
* Flickr Pro Account Photos http://www.flickr.com/photos/garyhayes/
* LinkedIn http://www.linkedin.com/profile?viewProfile=&key=537854
* Facebook - Gary Hayes http://www.facebook.com/profile.php?id=517517305
* MySpace - Cubrisound http://www.myspace.com/cubrisound
* Second Life Home Sim SLURL, http://slurl.com/secondlife/Marni/32/214/22/
* Friends Reunited http://www.friendsreunited.co.uk/fr.asp?wci=profile
* Google Video Australian Film TV and Radio School http://video.google.com.au/videosearch?q=owner%3AAFTRS
* Google Video Gary Hazlitt http://video.google.com.au/videosearch?q=%22Gary+Hazlitt%22+site%3Avideo.google.com


The Fragments of Play - Transocialmedia Entertainment

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The Fragments of Play - Transocialmedia Entertainment