Transmedia wyrdcon

Presentation to
WYRD CON
June 23, 2012

These slides were produced for “From Live to Web and Back Again,” a panel at
the WYRDCON conference, June 23, 2012. http://wyrdcon.com/

For a discussion of the conference, go to my blog: http://
www.nickdemartino.net/blog/

WHY ME?
Movie Geek
Journalist
Filmmaker
Marketer
Strategist
What qualiﬁes me to give this talk?
I am a movie geek.
I am an ex-journalist, ﬁlmmaker and marketer.
And I spent 20 years running digital programs and initiatives at the American Film Institute, some of which are
listed on the next slide.
To learn more about my career, check out my website at http://www.nickdemartino.net

20 YEARS @ AFI:

Computer Media Salons
Enhanced TV Workshop
Digital Content Lab
DigiFest

I discuss a few highlights of my years at AFI and the relationships I developed with innovators at the
intersection of Hollywood and Silicon Valley. I discuss a few highlights of the training-based programs
and the showcase programs, leading into our signature approach: collaborative prototype
development around content.

WHY ME?

Having heard the word ‘transmedia’ for some time, even as we were incubating many cross-media applications at AFI, I
became intrigued by the rise in the use of the term last spring, especially because there seemed to be a lot of ﬁghting
going on. This lead to a lot of research and a series of interviews with many of the leading practitioners in the
transmedia ﬁeld, and a three-art series “Why Transmedia is Catching On” which was posted on the Tribeca Film
Institute’s “Future of Film” site, and syndicated to sites around the world, including Huffington Post, The Wrap,
MIPblogs, x-media Lab (Australia) and others. The series lives on my own blog: http://www.nickdemartino.net/blog
(Here is a post that includes the links to all the different versions: http://www.nickdemartino.net/blog/2011/7/11/
where-to-read-my-transmedia-series.html )

WHY ME?

Nick DeMartino Consulting
Digital media strategy:
Content, distribution, markets.

I started a consulting business last year after leaving the AFI in which I help companies make the transition
occasioned by the disruption that the Internet is bringing to every market. Most of my work is in the content
production and distribution markets.


DEFINITION…
Transmedia Storytelling:
* Across multiple media
* Each contributing to story
* Multiple entry points into story
Henry Jenkins:Transmedia Storytelling

The term transmedia storytelling is, by all accounts, a coinage from Henry Jenkins, a much-published academic from
MIT, now on the faculty at the University of Southern California. Henry is a good source for info, particularly his
courseware, which is published on his blog: http://www.henryjenkins.org/
The speciﬁc article is from MIT Technology Review, "Transmedia Storytelling.”
Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.
ISBN 9780814742815. Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York: New
York University Press. ISBN 9780814742815. Jenkins, Henry (2006). Convergence Culture: Where Old and New Media
Collide. New York: New York University Press. ISBN 9780814742815.

EXAMPLE?

So, is the Royal Wedding a transmedia story?

EXAMPLE?

Or the Bible & Jesus Christ?

EXAMPLE?

Certainly Star Wars is transmedia, with many different media and formats. Though, there are those in the ﬁeld who
prefer to think of Star Wars as the ﬁrst major storytelling FRANCHISE, not really transmedia. What is the distinction?
Whether new elements to the story are added in every platform, and therefore make the experience of all platforms
necessary for a full experience of the work.

YOU COULD SAY:
Franchise
Multi-platform; cross-platform
ARG
Interactive media
Multimedia
Connected entertainment

These are related words describing various story forms. Some would say that none is as complete as “transmedia.”
Others say, to hell with the language wars. Let’s get to storytelling! (Note: ARG=alternate reality game)

Is It Really Transmedia START
Storytelling?
Is it on multiple Is it a single
media YES story or multiple
platforms? stories
NO
SINGLE
It's not
Transmedia! Was the story
transmedia
from inception? MULTIPLE
NO
YES
Are the pieces of
Do you own the content linked and
YES in narrative sync
IP?
YES
with each other?

NO
NO

Is it an Is it really a
Alternate NO story, or is it a
Reality Game? story universe? STORY It's not
UNIVERSE Transmedia
YES STORY Storytelling, it's
just a crummy
Entertainment
THEME Franchise.
C'mon, is it
*really* a story,
or is it a theme?

It's not STORY
Transmedia
Storytelling, YES WHAT'S MOST EFFECTIVE
it's an TO REACH YOUR TARGET
adaptation. AUDIENCE
Are there action
ﬁgures? Which is more
important when
deciding how content
NO will be delivered?
IDENTICAL
It's not
UNIQUE Transmedia
Are the pieces of WHAT'S MOST ORGANIC
story content
Storytelling,
TO THE STORY
unique or it's integrated
identical? marketing.
YES
Is the story just
a light narrative
Are there YES wrapper?
casual games?

NO NO NO

Congratulations! Do the content
You're a YES fragments link
Transmedia to each other?
Storyteller!

2011 Steve Peters (www.about.me/stevepeters)

Steve Peters (@vpisteve) has created a very engaging (and amusing) info graphic “Is it Really Transmedia Storytelling?”
You can download here from Scribd:
http://www.scribd.com/doc/59897583/Is-It-Really-Transmedia

Is It Really Transmedia START
Storytelling?
Is it on multiple Is it a single
media YES story or multiple
platforms? stories
NO
SINGLE
It's not
Transmedia! Was the story
transmedia
from inception? MULTIPLE
NO
YES
Are the pieces of
Do you own the content linked and
YES in narrative sync
IP?
YES
with each other?

NO
NO

Is it an Is it really a
Alternate NO story, or is it a
Reality Game? story universe? STORY It's not
UNIVERSE Transmedia
YES STORY Storytelling, it's
just a crummy
Entertainment
THEME Franchise.
C'mon, is it
*really* a story,
or is it a theme?

It's not STORY
Transmedia
Storytelling, info WHAT'S MOST EFFECTIVE
Steve Peters (@vpisteve) has created a very engaging (and amusing) YES graphic “Is it Really Transmedia
Storytelling?” You can download it's an
here from Scribd: TO REACH YOUR TARGET
adaptation. AUDIENCE
http://www.scribd.com/doc/59897583/Is-It-Really-Transmedia
Are there action
ﬁgures? Which is more
important when
deciding how content
NO will be delivered?
IDENTICAL
It's not

ASPECTS

Not every example I’m going to cite goes from live to the web and back again, which is the topic of
our panel. But I thought I might set up a key idea here, and that is, that properties that people are
calling transmedia today have a lot of different aspects. I’m going to whip through many different
examples from our history in order to discuss some of these aspects, and wind up with a deeper dive
into a few from the recent past.

PERFORMANCE

1981: TAMARA. Interactive Theatre
Tamara was a theatrical event launched in Toronto in which the audience moved into different rooms
and interacted with the actors. The story would unfold differently, depending upon your journey and
what happened in each room. The show ran for many years in Los Angeles and New York, and was
revived in Toronto. This is interactive, but not really multi-platform, though a CD-ROM was
attempted.

INTERACTIVITY

1990: Hyperland
BBC & Douglas Adams

Douglas Adams, the creator of A HITCHHICKERS GUIDE TO THE UNIVERSE built this work with the BBC at the dawn of the
interactive media age in order to explain and explore hyper-media. It could be said to be multi-platform because the
links took the user into different environments and domains. You can tell that the ideas were ahead of the technology
by looking at the clunky fonts.

IMMERSION

1992: MYST from Cyan & Broderbund

MYST was a ground-breaking game series on CD-ROM back in the 90’s, which remained the highest grossing
title until the SIMS overtook it. Unlike the classic “videogame” format, which were usually shooter or role-
playing games, MYST was a journey of discovery in which users proceeded into environments and worlds by
ﬁnding clues and activating elements of the system. Again, not really multi-platform, but a new way to tell a
story. MYST and its sequels are now available in the iTunes store in both a free and $4.99 version.

MULTI(PLATFORM)

1992: Bram Stoker’s DRACULA
Game based on Coppola’s Film

Francis Ford Coppola created a successful film adaptation of the Bram Stoker novel about the original vampire
starring Gary Oldman, and Sony released a game version that utilized footage shot on the set of the film,
which nudges into the terrain of multi-platform. We were excited to show it at the time because of the high
profile of the director, who created iconic films like THE GODFATHER trilogy.

MYSTERY… PUZZLE

1995: In the First Degree
Interactive CD-ROM from Broderbund

Another CD-ROM title from Broderbund was created by my friend Haney Armstrong, a ﬂlmmaker who came up
with this extension of the traditional police procedural story by allowing the user to interrogate people.

SCAVENGE

2002: Push, Nevada: ABC & LivePlanet
Play along with the mystery to win $$

TV interactivity is a whole topic in and of itself. I included PUSH NEVADA in this presentation because it did
represent a breakthrough. Clues were peppered throughout the show and the website that allowed users to
amass points leading to a winner. I think I remember that some clues involved mobile calling as well, Even
though the show was not popular enough to be renewed, it was an early example of multi-platform
enrichment of a primary story.

PARALLEL CASTS

1995: Johnny Mnemonic. CD-ROM from Sony Imagesoft

This William Gibson classic was made into a ﬁlm with Keanu Reeves, not well reviewed, but signiﬁcant because
Sony released a CD-ROM game simultaneously which allowed gameplay in a movie-like setting based upon
the same story. The casts were different.

MERGE

2003: Battlestar Gallactica. AFI team: Schematic, Syfy, others

When the Sci-Fi Channel wanted to bring back the classic Battlestar Gallactica, representatives of the company,
as well as Universal’s game division, came into the AFI’s Digital Content Lab to create a multi-dimensional
viewing experience. The user interface, created by Schematic’s Dale Herigstad, allowed seamless movement by
the user in and out of the primary story (TV), a ﬁrst-person spaceship ﬂying experience (game), and deep data
about the ship, the characters, and the backstory, which also included clues. This was not the version
launched at the time of the show, but inspired lots of others.

GREATEST HITS

In this section of the talk I whip through slides of what one might call the modern canon of transmedia
examples, expecially those originating on television, where I spent a lot of my time in development work.

HEROES

Ditto with HEROES, which launched its 360 experience, later renamed EVOLUTIONS. Producer Jesse Alexander worked
closely with the TV series creative team.

LOST

The Emmy went to the LOST EXPERIENCE, an alternative reality game from ABC and Hi-ReS, a design and experience
company. The TV Show’s millions of fans could deepen their experience of the story world via this comprehensive site.

TRUTH ABOUT MARIKA

My mind was blown by this Swedish alternative reality game from Company P, headed by Christopher Sandberg. They
used TV, newspapers, the web, live events and kind of took over the whole country for a few weeks. The premise was a
fake event, but it was treated as real, and people engaged with the story in a sort of ambiguous way, not knowing for
sure what was real, what was fake, what was conspiracy, etc. Such a ﬁctional trope is often part of ARG work, and many
would date it back to Orson Welles and the Mercury Theatre’s radio adaptation of H.G.Welles’ WAR OF THE WORLDS in
the 30’s.

I LOVE BEES

42 Entertainment produced an ARG called I LOVE BEES to support the release of Microsoft’s HALO game.

WHY SO SERIOUS?

42 Entertainment created this multi-platform alternative reality game that invited players during the period
bridging the release of the two Batman films, especially the much-anticipated DARK KNIGHT from director
Christopher Nolan. Because the Gotham setting and the tone and elements of the franchise are so well known,
the creators could play off of that with newspapers and other media released in sequence that contained clues
and links to fill in the complex world of the films.

YEAR ZERO

YEAR ZERO is an ARG that involved fans of the band Nine Inch Nails at concerts by leaving USB drives in
restrooms. Those who activated the ﬁles contained therein on a computer got instructions that involved them
in launching the viral game, which depicts a theocratic dystopian future, the subject of the album.

CONSPIRACY FOR GOOD

Tim Kring created Heroes and in 2010 launched a global ARG called Conspiracy for Good which was
sponsored by Nokia. There were extensive live events that contained clues that could be retrieved via mobile
augmented reality technologies, as well as many other events. The ﬁctional elements, especially those about
the evil corporation, were quite elaborate. There was a real-world charity in Africa that beneﬁted from the
activities as well.

HEAD TRAUMA

This is just one of the properties created by Lance Weiler, whose breakthrough ﬁlm THE BIG BROADCAST was
itself a precursor to more complex storytelling components being added beyond the ﬁlm “platform.” 2010: HEAD
TRAUMA/Hope is Missing Lance Weiler/ Seize the Media

COLLAPSUS

COLLAPSUS was a documentary ﬁlm on Dutch television that was expanded into a broader transmedia
experience that integrated game-play, global mapping, animation and other elements. Directed by
Tommy Palotta, who produced Waking Life and A Scanner Darkly. Won the best interactive ﬁlm award
at the SXSW festival in 2011. From Submarine and VPRO.

PLAYING ON THE WEB

If we are going to discuss going from “live” to the web and back again, it might be worth examining some
examples of trends in the presentation of content on the web.

TAKE THIS LOLLIPOP

Interactive Live Facebook Connect Experience

Take This Lollipop is a cinematic website created in HTML 5 that requires users to launch Facebook
Connect and authorize the use of content in the account, which is integrated into a creepy, serial killer
type short ﬁlm. http://www.takethislollipop.com/

TAKE THIS LOLLIPOP

The cinematic experience of “Lolllipop” is startling because it embeds images, maps, names and facts
extracted from your Facebook account into the movie seemlessly.

ARCADE FIRE

LEVERAGES HTML 5 VIDEO
The Wilderness Downtown. http://thewildernessdowntown.com/ : Indie Rock Band Arcade Fire, working with
ﬁlmmaker Chris Milk, released a song “We Used to Wait” produced with HTML5. Users enter the zip code of the
place they lived as a kid, and the video incorporates street scenes grabbed via Google Map Street View feature.
Milk has a slew of experimental video/web projects on his site, including the 2012 FWA Best website (voted by
fans), another collaboration with a band, this time Danger Mouse. http://portfolio.chrismilk.com/

MISSION IMPOSSIBLE

Tommy Pallotta and other collaborators created a game to support the release Mission Impossible:Ghost
Protocol, requiring a Facebook Connect log-on. http://cobalt.missionimpossible.com/

FACEBOOK CONNECT INTEGRATION

This is the image generated at the end of the Cobalt game, which is then sharable on Facebook.

3 DREAMS OF BLACK

WebGL/Chrome Project by Chris Milk & Aaron Koblin
http://www.ro.me/?id=86057 is another Chris Milk project using Google Chrome’s browser, this time
leveraging the power of Web GL technologies.

3 DREAMS OF BLACK

Users can generate their own “dreams” by drawing on the landscape provided by the site or vote for
their favorites.

LEVERAGES HTML 5 VIDEO
AIM HIGH is a web series about a teenaged spy. http://www.imdb.com/title/tt1730374/ “Viewers log on via
Facebook” and by giving permission, become part of the story. https://www.facebook.com/AimHighSeries.

FAN-VIDEO
STORYTELLING

Another web format that inspires is fan-produced video, uploaded into a storytelling frame. The innovation
here is the direct address format, with the user speaking to viewers via the webcam ubiquitous on personal
computers, especially laptops.

LONELY GIRL 15

The technique began at the dawn of YouTube: Lonely Girl 15 was a very inﬂuential early use of YouTube in
which actors portrayed young people’s lives as if they were really opening up to the world via video. Most
people thought these were real people, and responded in kind with video uploads of their own, creating a
tapestry of video storytelling that was quite unique. What has become a standard feature of YouTube was
pioneered by Lonely Girl, and the lessons are being applied by the ﬁrm founded by its producers: EQAL.
http://www.eqal.com/

BECKINFIELD

Beckinfield (2011) – User submitted videos tell the story of a town

Beckinfield is a new site that creates a story world, e.g., a mythical California town, and a storyline that
comes from the site, but the unfolding of the story is created by users who upload videos to the site
that they have made in characters. The originator is an actor who had been helping fellow actors
upload “audition” type videos to YouTube, and yearned for a way to let actors use their improv skills to
further their careers. The site’s platform company, Theatrix, hopes to license the software to other
content companies who want to leverage their experience. They call it “mass participation television.”

http://www.beckinfield.com/

Registered users get a weekly newsletter that provides a framework for “events” in the mythical town against
which users can create their characters’ performances in video, and then upload them. There are also
auditions and contests conveyed thru the newsletter.

BECKINFIELD

As the site and story forms have matured, Beckinﬁeld has featured more complexly edited pieces,
generated by the site’s creative team. Otherwise, all of the content is in the form of direct address into
the camera, usually webcam-style confessional formats.

WHAT IS THEATRE?

“Live” content with a live audience is an ancient art form: theatre. Some innovations in interactivity, like
“Tamara” are being leveraged in today’s theatre world, along with the insertion of multi-platform story forms
and web-based extensions.

SLEEP NO MORE

2011: Punchdrunk Interactive Production Opens in NYC

“Sleep No More” is an interactive theatre presentation of Macbeth in which audience members in masks
interact throughout a physical space where the actors unfurl the story. http://sleepnomorenyc.com/

Punchdrunk Theatre, a London-based troupe, has experimented with interactive theatre in the past. The
brought “Sleep No More” to NYC in 2011, where it has been selling out almost every show.

NO GOOD DEED

2012: Furious Theatre Company Play & Graphic Novel

Pasadena CA based Furious Theatre Company specializes in edgy productions by emerging playwrights. Furious
commissioned Matt Pelfrey to write the play, which involves a young loser who inadvertently becomes famous for an act
of apparent heroism and wanders into superhero fantasy inspired by the comics he wants to publish. His character--
Hellbound Hero, is the subject of a graphic novel released in conjunction with the show. The show ran for several
weeks in 2012 at LA’s John Anson Ford Theatre. http://www.iamhellbound.com/

NO GOOD DEED


The show ran for several weeks in 2012 at LA’s John Anson Ford Theatre. http://www.iamhellbound.com/

NO GOOD DEED


The graphic novel Hellbound Heroes, written by Matt Pelfrey and illustrated by Ben Matsuya, is still available
for sale online.

NO GOOD DEED


Here’s the hero, hell-bound, of course.

ACCOMPLICE

The Accomplice is an urban-based exploration game/theatre piece, launched in
NY http://accomplicetheshow.com/details-ny.php and now in Los Angeles
http://www.accomplicetheshow.com/details-hollywood.php

THE SEED

The Seed (2012) – Facebook-based “Play” by David Varela, U.K.

I just learned about The Seed, a “theatre” project from UK’s David Varela that takes place on Facebook. Here’s
some info from the author’s blog: http://www.davidvarela.com/ and the FB site of the ﬁctional character, an
agronomist, who is the protagonist of the story: https://www.facebook.com/theseed2012

HAUNTED

2012: BXX’s HAUNTED
Daniel Knauf (Carnivale)’s online horror/mystery

http://bxxweb.com/ is the site for Daniel Knauf’s beta site for an interactive haunted house story called,
ﬁttingly, “Haunted.” His linear stuff (Carnivale on HBO) was beautiful and plenty weird. This is lower tech, not
so beautiful, but addictive in a strange mesmerizing way.

HAUNTED

2012: BXX’s HAUNTED
Daniel Knauf (Carnivale)’s online horror/mystery

Many items are available to help “viewers” navigate the story, including this map of the haunted house from an
early real estate ad.

BOOK ‘EM

Authors of books are also edging into multi-platform storytelling and interactivity. Here are a few examples.

AN AMERICAN STORY

ETHAN RUSSELL ebook (2012): “It’s Your
History: Help Write It”
Rock photographer and music video director Ethan Russell http://www.ethanrussell.com/index.htmlhas just
published his “illustrated” memoir “An American Story” that features copious photography, videos, and a
companion website that is seamlessly integrated into the narrative. He tells me the iBook version on the iPad is
the best user-experience. It’s also available for the Kindle, Nook, etc. http://itunes.apple.com/us/book/
ethan-russell-american-story/id531762062?mt=11

The website allows users to post their own reminiscences of the historical timeline events itemized within
Russell’s nonﬁction book. He intends to release these user contributions in subsequent versions of the ebook,
which he titled version 1.0.

NEXUS HUMANUS

2011: Nexus Humanus from Michael Grant

Nexus Humanus is a new project, just launched, from Michael Grant, a best-selling children’s book author,
and a transmedia team which has created a web-based story world for his next story, which is focused on a
mind-control organization. http://nexushumanus.com/

NEXUS HUMANUS


The story seems to be a satire of Scientology and its founder, L. Ron Hubbard.

NEXUS HUMANUS


At the bottom of the page, after copious amounts of white space is a tiny button….

BZRK.COM


...and clicking the button takes you to another Michael Grant multimedia book and web project, this one for
teens called “Go BZRK.”

BRANDED

Brands are experimenting with multiplatform storytelling. I dive into a particularly complex example in this
case study.

TEST SUBJECTS NEEDED

42 Entertainment: PROJECT ICEFLY/HUMAN PRESERVATION PROJECT

HUMAN PRESERVATION PROJECT

http://survivalcode.com/
Test subjects needed
Project ICEFLY

COMPLEX & IMMERSIVE
Online rumors > Live events > Phone
Calls > YouTube videos > Website A >
Backstory/Themes Revealed > Register
> Objects with QR code mailed >
Website B > Back Story > Videos >
Gameplay & Levels > Codes from
Gum > Facebook > Secrets… > ???

Project ICEFLY

RUMORS


Project ICEFLY

WEBSITE


Project ICEFLY

OBJECT


Project ICEFLY

EVENTS


Project ICEFLY

VIDEOS


Project ICEFLY

FACEBOOK SITE


Project ICEFLY

FACEBOOK SITE

Ultimately the goal is to play a game to progress thru levels that gain points and allow you to retrieve prizes. There were
winners in multiple cities.

INDIE MODELS
• No-budget aesthetic
• Grass-roots / DIY / “some budget”
• R&D
• Fan Incubation
• Fan Funded (think pre-sale)
• Arbitrage plays
• Audience Product
• Infrastructure Play

A review of the Brian Clark talk at Henry Jenkin’s transmedia class can be found at http://
metascott.com/2011/09/21/brian-clarks-the-business-of-transmedia/

REMEMBERING 9/11

Clark’s GMD Studios created an interactive experience with the Smithsonian to remember 9/11.
Simple, text and image-based. http://conversations.si.edu/

REMEMBERING 9/11

Clark’s GMD Studios created an interactive experience with the Smithsonian to
remember 9/11. Simple, text and image-based. http://conversations.si.edu/

ROBOT HEART

Lance Weiler created an educational transmedia experience for kids in two schools, one in Montreal
and one in Los Angeles, who manipulated a robot across the U.S. He calls this storytelling R&D. http://
robotheartstories.com/about

He used IndieGoGo to raise funds to support the rollout of the project: http://www.indiegogo.com/
Robot-Heart-Stories

CHRISTY DENA

Australian Christy Dena offers “pre-orders” for her new transmedia experience, which involves audio overlays
of the story elements.
http://www.authenticinallcaps.com/

SNOW TOWN

Jan Libby has turned to Kickstarter to raise development funds for her interactive app platform within which
she hopes to create a more fully realized version of her story SNOWTOWN. http://www.snowtown.me/

FUN

Mother Jones Magazine produced three faux negative campaign ads around “candidates” from GAME
OF THRONES. View at http://www.motherjones.com/politics/2012/06/game-of-thrones-attack-ads

<iframe width="560" height="315" src="http://www.youtube.com/embed/a6r9CdNenuk"
frameborder="0" allowfullscreen></iframe>

WISDOM
When you start out a career in the
arts you have no idea what you are
doing. It’s impossible to do anything
wrong. Because nobody’s done it
before, they haven’t made up the rules
to stop anyone from doing that
particular thing.

Author & Screenwriter Neil Gaiman

I end this talk with these words of wisdom from Neil Gaiman’s recent talk at a
University Commencement.

Thank you for your
attention.

Let me know how I can help.

Nick DeMartino Consulting provides strategic services to companies in the digital media and content markets,
including marketing initiatives, strategic alliance and partnerships, business development and more. Details
available at http://www.nickdemartino.net

NICK DEMARTINO
• TWITTER: • WEBSITE:
@nickdemartino www.nickdemartino.net
• SLIDESHARE: • BLOG (and newsletter):
www.slideshare.net/ www.nickdemartino.net/
nickdemartino blog
• EMAIL: • DELICIOUS:
nrdemartino@gmail.com www.delicious.com/
aﬁnickd/transmedia

Please feel free to contact me with questions. I will be posting this presentation on SlideShare. If you give me your card
after the talk, I’ll send it to you, as well. Please check out my website, and if you like my blog posts, sign up for my
newsletter. Much of the research for this talk can be found on my Delicious site, under either transmedia tag.

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