Brian Seth Hurst - Conspiracy for Good

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Del curso dictado por UNSW Australia (The University of New South Wales)

Transmedia Storytelling: Narrative worlds, emerging technologies, and global audiences

190 calificaciones

UNSW Australia (The University of New South Wales)

Transmedia Storytelling: Narrative worlds, emerging technologies, and global audiences

190 calificaciones

Transmedia storytelling is the practice of designing, sharing, and participating in a cohesive story experience across multiple traditional and digital delivery platforms - for entertainment, advertising and marketing, or social change. Have you ever read a book, seen a movie, watched a television show, or played a game that centred around different aspects of a larger story or universe? You may be familiar with popular examples of such universes like Star Wars, Marvel, and The Walking Dead (to name a few). How do the professionals develop such expansive narratives? How do they ensure that each element stays true to the original story? How do they innovatively use different technologies to share the stories, grow audiences and create an active and involved community of fans? More and more, we are also engaging with elements or franchises of larger and more complex stories across a much more diverse range of platforms like interactive web experiences, social media communities, mobile devices, theme parks, and even augmented and virtual reality. A major challenge that current and future storytellers face is being able to engage different audiences in a story that is seamlessly told across all of these different platforms. WHAT WILL I LEARN? This course will help you to design a strategy for developing and telling your own transmedia story. You will learn about what it takes to: • Shape your ideas into compelling and well structured narratives and complex story worlds • Identify, understand, and engage different audiences in your stories • Create cohesive user experiences across different platforms • Evaluate existing and emerging technologies to share your story with the world, and help your audience participate in the larger storyworld you create The course provides you with a unique, authentic, and industry relevant learning opportunity. You will have access to current theory, industry examples and advice and undertake learning activities that will equip you with the tools you need to start developing your own ideas. WHO WILL MY INSTRUCTORS BE? You will learn effective transmedia design strategies from leading UNSW Australia Art & Design academics. You will also examine case studies that demonstrate how amazing ideas, technology and audience contributions can be brought together to create dynamic storyworlds. You'll see examples of major, successful transmedia storytelling projects involving movies, digital entertainment, gaming, virtual reality and more. In collaboration with our industry partner X Media Lab, the course will give you inside access to the personal stories, insight and advice of the following innovative transmedia storytelling professionals from Hollywood USA, Canada and Australia. • Susan Bonds, 42 Entertainment, Los Angeles, USA • Flint Dille, Screenwriter, Game Designer and Novelist, Los Angeles, USA • Cindi Drennan, Illuminart, Australia • Tom Ellard, UNSW Art & Design, Sydney, Australia • Catherine Fargher, Dr Egg Digital, Sydney, Australia • Hal Hefner, 3AM Creative, USA • Brian Seth Hurst, StoryTech, Los Angeles, USA • Henry Jenkins, School for Communication and Journalism, University of Southern California, USA • Mikey Leung, Digital Storytellers, Sydney, Australia • Alex Lieu, 42 Entertainment, Los Angeles, USA • Geoffrey Long, Annenberg Innovation Lab, University of Southern California, USA • John McGhee, UNSW Art & Design, Sydney, Australia • Joseph Narai, Transmedia Entertainment, Sydney, Australia • Jeff Nicholas, The Uprising Creative, Los Angeles, USA • Sergio Paez, Graphic Artist working in animation, TV, video games, and film. Co Founder, StoryboardArt, California, USA • Steve Peters, No Mimes Media, Los Angeles, USA • Stuart Samuels, Stuart Samuels Productions, Toronto, Canada • Charles Santoso, Concept Artist, Sydney, Australia • Seth Shapiro, New Amsterdam Media, Los Angeles, USA • Scott Snibbe, Eyegroove, San Francisco, USA • Tracey Taylor, The Pulse, Sydney, Australia • Robert Tercek, Public Speaker, Digital Media Strategist, and Executive Leader for Creative Ventures and Business Innovation, • University of Southern California, USA • Kevin Williams, Founder & Director of KWP Ltd and DNA Association, UK • Brent Young, Super 78, Los Angeles, USA • Maya Zuckerman, Transmedia SF, San Francisco, USA COURSE CONTENT DEVELOPMENT Karin Watson, Iman Irannejad, and Dr. Simon McIntyre.

De la lección

What is Transmedia Storytelling?

This module will introduce you to the instructors of this course, and give you an understanding of how the course works and what you will learn. We will also introduce you to what Transmedia Storytelling is and how it is important to the way we interact and communicate. We’ll explain the anatomy of story and the importance of developing a narrative, and show you some examples of contemporary transmedia storytelling. The information in this module will form the backbone of your own transmedia strategy that you will develop over the duration of the course.

Brian Seth Hurst - Conspiracy for Good11:24

Susan Bonds - Why so serious? Transmedia promotion for The Dark Knight7:35

Henry Jenkins - The Matrix. An example of a transmedia world3:52

Mikey Leung - The Darwin Aboriginal Art Fair10:46

Scott Snibbe - Biophilia, a transmedia story of music, technology and nature2:16

Conoce a los instructores

Associate Professor Simon McIntyre
Associate Dean Education
UNSW Sydney | Art & Design
Dr Ollie Bown
Senior Lecturer
UNSW Australia | Art & Design
Emma Robertson
Associate Professor
UNSW | Art & Design
Dr Geoge Khut
Lecturer
UNSW | Art & Design
Dr Jeffrey Koh
Associate Lecturer
UNSW | Art and Design (formerly)

So I can speak to you about conspiracy for good.

I don't know that we ever refer to it as transmedia but

we knew we were going to, well we had the story.

And Tim had written the story and we knew the story was going to

start online as video, so it's straight linear.

Then we knew people would learn to participate.

In order to participate, we knew we were going to go from video on to the net.

In terms of social actions, social media and then out into the real world,

using the city of London as a playing board over the four consecutive weekends.

The story was,

in briefly that there was a multi-national corporation Blackwell Briggs,

which we made up, which people actually thought was real, which was pretty cool.

And they owned pipelines and this woman.

Nadira, who actually in real life was a singer, gave up her career,

essentially, in this story, for a year to go teach in Cheteka village in Zambia.

And they were going to build a library, but the books went missing.

And they had to find out, they had to bring down Blackwell Briggs.

So we knew what the story was and in order to bring down Blackwell Briggs,

we had to get Nadira from Zambia to London.

And so the audience, that's when we ask them for

their help, to help navigate her way.

And so people made all sorts of suggestions, and they got involved,

I mean, you could see,

there's like a ton of video online about people getting involved.

So what it was was story, interaction with the audience, out into the real world.

We knew we had to limit participation.

But people turned out over those four weekends.

And then of course the finale was bringing down Blackwell Briggs and

taking Sir Ian Briggs into custody.

You can see all this stuff at conspiracyforgood.com, it's all there.

Okay, so the whole point of conspiracy for

good was to take what Tim knew was happening with heroes, the zeitgeist.

Which was ordinary people doing extraordinary things and

have ordinary people come into the story and do extraordinary things.

So a real world version to turn you, if you wanted to be in the story,

into a hero, which you would be.

So the goals that you were accomplishing as part of this story that you were

participating in.

Had a much larger goal of making a difference in the world, in this case,

of literacy, which by the way was Nokia's cause.

They said we want to do literacy.

So the journey was come be part of the story and make a real world difference.

Thus, social benefit storytelling, meaning by your participation you're going to

make a benefit, you're going to have a social benefit to this participation.

So in terms of how that played out,

you had to break the code to get into the game.

So, people got into the game, and

then eventually, we got the people who were coming to London into the game.

And then all that was managed as a locative game.

So, you're still in the story, and you're still participating in the narrative, but

now you're helping the main character and so

you have to knock down the obstacles before she gets there.

Some of those obstacles were like assignments,

like clean up the Thames River bank, because you know you want to do good.

The narrative is still true, there was a point where the audience became part of

the story and had to complete the tasks to not only get Nadira to London.

But to get her to the point and places where she needed to be and

all the while being pursued by the way, by Blackwell Briggs guards,

these guys were in the streets.

So we had a diversion there was a Bollywood dance that was like

a distraction and a diversion so she could get around because Blackwell Briggs knew

about her and they were looking for her.

I thought that the audience was going to be kids.

I had no idea that the audience was going to be everybody.

So you saw people making videos, this was parents with their kids.

I mean all sorts of people participated and when it came out and

people were participating on the street, it was a pretty wide demographic.

So that was the first thing, the second thing is that Tim was

ingenious in the way that he created this sense of belonging.

Like you were going to be part of this secret society and have a mission.

So that gaming aspect and people said you're doing alternate reality game.

It's really much more than an alternate reality game.

And people really got into playing it and they just weren't doing a scavenger hunt.

They were helping build libraries.

They were helping make this happen so they became characters in the story.

So the key technology was mobile.

This was, the key technology was you were going to use your phone to move you

through the experience.

So technology and the Internet, we were already behaving like everybody else.

We're using YouTube, we're using Twitter.

Using social media like everybody else was using it.

But when we move this, and we had a really good story.

And when we move the story out into the real world,

the way you got into the story was through your phone, through games.

And the way you navigated was the maps, and

the way you got information was by pointing your phone, augmented reality,

activating your video, activating your picture, activating your text.

Because Nokia labs in Santa Monica had done something

where they wanted to demonstrate the Nokia phone and

what was then augmented reality in gaming.

And so they wanted us to use OV Maps, so we used OV Maps.

That was their map program, to get Nadira to London.

And to actually map things that would happen.

Then you would aim your phone towards the wall, and something would activate.

Well, they made up this whole story and Tim and myself and

Bob and Liz, we went down and ran the story, ran it all through Westwood.

It was the story of Marilyn Monroe, and you end up at her grave.

Well, of course, other than me almost getting hit by a UPS truck,

it was a blast, and our imaginations went crazy.

And Nokia wanted Tim to do some.

So we took the story of Conspiracy for Good and adapted it, and then we went back

to Nokia and said, can you do this and can you do this and can you do this.

And they said, yes, and so

they started to adapt the technology just like I've always want it to happen.

The collaboration was, we had a group out here, then we had The Company P,

Christopher Sandberg and The Company P in Sweden.

And then we had all of Nokia marketing in London and

we had Nokia services and technologies which I guess were in Finland.

So you had these four groups on four different time zones.

You had over a 150 people in four different countries working on this.

So not only were there these four basic entities which was Company P,

us, Nokia Technology, and Nokia Marketing but then there were three or

four other companies.

So we had a film company that did all the aerials.

There were no drones then, all these aerials, over London were beautiful.

The film maker was absolutely amazing.

Then we had, Company P, had someone to do the music, the music was amazing.

Then we also threw music to Indaba.

We asked tha audience to create music for

it, so the audience were in fact part of the collaboration as well.

I would say the core leadership for the project was back here in Los Angeles,

even though we were using London as the playing field.

So usually what you do is you get together in a writers' room which is what

the writers did, they exchanged ideas, they brainstormed the ideas for the story.

So the story did come first and then it was like okay,

how does this story execute, how does it play out.

We would talk, the four of us would talk and

decides what ideas ultimately the decision of what was going to move forward.

It was discussed and then it was up to Tim to decide what the options were and

what would best serve the story.

So in terms of communication and

collaboration, boy I just think it was like a 24 hour day.

Because emails were flying back and forth and we used Skype and

phone calls and it was just great.

I really got to hand it to Tim because when I think about it and

I think of the things that I've worked on since it was everybody

was rowing together.

Because everybody was on board with the destination.

We knew where we wanted to end up and we knew we wanted to make a difference.

So, because the whole project was to raise consciousness about literacy,

build libraries.

And also raise consciousness about the Zenaida cult of conspiracy for good,

which began in the second century.

By the way, there's a whole mythology behind that.

We had all that in place too, I think the goal was larger than any one of us.

It wasn't just about having a successful cross-media,

transmedia, whatever you want to call it, project.

The success was in the contribution we were going to to make and,

I think that is what hauled everybody together.

We had all the measures, the chatter.

The way Nokia measured the success was the PR value.

And there was lot of press, lot of discussion, lot of online stuff.

And I think the way we measured success was the libraries and the people's

participation and the way they got attached to the story and the outcome.

Well the one thing is make sure you have a story.

Make sure you have your characters.

You have got nothing unless you've got that story.

Two, decide where your audience is living.

Who's the audience you want to reach, how do you want them to participate,

how do you want to move them and inspire them to participate.

Three, don't make it hard for them, don't make it hard.

Make it fun, make it interesting, give them some ownership.

The more they perceive ownership of the story or the brand,

the more successful I think you become.

When you're in trouble, when one person in the team is in trouble and

doesn't know what is going on, you're going to have a hard time.

So make sure the communication is open and clear.

Make sure that everybody gets to have an opinion,

have one person maintain the vision for your story.

Be open to other ideas that come with your story.

So, it's good to have mentors, as well, trust your instincts.

Don't try to be good, trust your instincts,

your gut instinct is more likely to take you where you need to be.

The other thing is, this is just something I have found really important.

Don't be obsessed, find a way to let it go meditate,

take walks if you got a problem to solve work on it then walk away from it.

You've got to leave space for the muses to play and

then finally value what you created.

I think that's most important if you don't value it no one else will.

And the other thing is, don't be led by technology.

Technology is there, don't ring a bell for the sake of ringing the tech bell.

Let the technology serve the story if it's the other way around,

you won't be successful.

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