Kenny Lauer presented: Stories, games and origami unicorns remote engaging in our participatory world.
A romp through the world of digital engagement and its effects on our world.
5. “If I tell my Facebook friends about your
brand, it’s not because I like your brand,
http://www.mikearauz.com/2009/03/thoughts-on-spreadable-media-parts-3.html 4
Tuesday, April 2, 13
6. “If I tell my Facebook friends about your
brand, it’s not because I like your brand,
but rather because I like my friends.
– Mike Arauz
http://www.mikearauz.com/2009/03/thoughts-on-spreadable-media-parts-3.html 4
Tuesday, April 2, 13
12. “The moment
we are
living through [right now]—
is the largest increase in
expressive capability in human history.”
– Clay Shirky, TED
Expressive To make known the opinions or feeling of
Capability Having power and ability
8
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37. “I want to meet Mark Zuckerberg one day and thank him...
I'm talking on behalf of Egypt. ...
This revolution started online.
This revolution started on Facebook.
We would post a video on Facebook that would be shared by
60,000 people on their walls within a few hours. I've always said
that if you want to liberate a society just give them the Internet.”
– Wael Ghonim
18
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47. Social Media is changing the world.
Level 4 Ripples
4 Distribution through individuals
(email lists, etc.)
3
Level 3 Ripples
Distribution through “closed” networks
(Facebook, MySpace, etc.)
Level 2 Ripples
2 Distribution through “open” networks
(blogs, sites, feeds, widgets, etc.)
1
Level 1 Ripples
Distribution through mainstream media outlets,
digital and analog (press, influencers, etc.)
22
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49. The most important word on
the Internet is not “SEARCH”.
THE MOST IMPORTANT WORD
ON THE INTERNET IS “SHARE”.
– Hugh McLeod & Jyri Engstrom
23
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50. Anywhere and everywhere
Social networking now connects 62 million US adults.
– Forrester
“There are more than 200 million active users [40 percent]
currently accessing Facebook through their mobile devices. People that use
Facebook on their mobile devices are twice as active on Facebook as non-mobile
users.”
– Facebook official statistics (January, 2011).
Twitter is now attracting 190 million visitors per month and generating 65 million
Tweets a day. Most users don’t Tweet at all, but rather use Twitter as a consumption
media.
– Twitter COO Dick Costolo, at the Conversational Media Summit
It gets 300,000 new users a day.
– Biz stone, Chirp
24
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52. Over 6 million people are engaging
Fortune 500 brands through key social
media channels.
Source: “The Social Media Habits of the Fortune 500” study, iMediaWorks, 2Q, 2009 25
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53. 500 Billion Impressions
People in the US generate more than 500
billion online impressions on each other
regarding products and services — more than
one-fourth the number of impressions
advertisers make.
26
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54. US Social Network Ad Revenues, 2009 –
Billions and % Change
Source: eMarketer, January 2011
27
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55. US Social Network Ad Revenues, 2009 –
Billions and % Change
$3.93
(27.7%)
$3.08
Why are US marketers (55.0%)
spending 55% more $1.99
$1.43 (39.0%)
than last year ($3.08B) (20.3%)
to advertise on social
networking sites this year,
as predicted by eMarketer?
2009 2010 2011 2012
That’s where consumers are influenced.
Source: eMarketer, January 2011
27
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56. Technology
is
changing
our lives
Convergence culture
is a world where
every story, image,
sound, idea, brand,
and relationship
will play itself out
across all possible
media platforms.
– Henry Jenkins
28
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75. Transmedia Storytelling: What is it?
• According to Henry Jenkins: A
process where integral elements of a
fiction get dispersed systematically
across multiple delivery channels for
the purpose of creating a unified and
coordinated entertainment
experience. Ideally, each medium
makes it own unique contribution to
the unfolding of the story.”
• According to Kenny Lauer: Enable
the audience to experience the story
in a lot of different ways through a lot
of different ways.
http://social-creature.com/page/3 38
Tuesday, April 2, 13
77. Harry Potter
movies, video games and other elements
are all retellings of the books that JK
Rowling wrote
= Not transmedia
39
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78. Harry Potter
movies, video games and other elements
are all retellings of the books that JK
Rowling wrote
= Not transmedia
Julia Child
autobiography, My Life in France
+ Julie Powell’s blog The Julie/Julia Project
+ Nora Efron’s movie, Julie and Julia
= Transmedia
39
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79. Elements of Transmedia Storytelling
• Participatory.
Not just watching.
• Recursive.
Ties back into the core narrative(s) and builds
intelligence.
• Scalable.
Grows into other forms or properties to some extent.
40
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82. Linear, Control, Push
Story Produce Watch
Non-linear, Participatory, Push/Pull
41
Tuesday, April 2, 13
83. Linear, Control, Push
Story Produce Watch
Non-linear, Participatory, Push/Pull
Franchise Transmedia
Multiple platforms create a collection of individual experiences
Comic Book Sequel
Story
Computer
Webisode
Game
Website
41
Tuesday, April 2, 13
84. Linear, Control, Push
Story Produce Watch
Non-linear, Participatory, Push/Pull
Franchise Transmedia Portmanteau Transmedia
Multiple platforms create a collection of individual experiences Multiple platforms contribute to a single experience
Comic Book Sequel
Twitter
Audio Video
Story SMS
Blog Flyer
Computer
Webisode
Game
Image Email
Event
Website
41
Tuesday, April 2, 13
86. Transmedia Storytelling
Movie TV Series
Download Novel
Flash Mob
Knit-Along Big
Adventure/
Twitter
Video Games Main Story
History of the Future of the iPhone
Flickr Storyverse/ Storyverse
Backstory Podcasts
Blogs
Story of
Music Minor DVDs
Facebook
Story Character/
Alt POV iPad/Tablet
Live Events True
Stories Universe Fan Assets: Websites
Social Games Video, Photos,
Myths MP3s
Concerts YouTube
User Generated
Backstage/ CDs
Comics Content/
Making of Fan Fiction
Webisodes
Merchandise
Graphic Novels
Toys
Theater Documentary
Radio
Jill Colick, Story2OH.com 42
Tuesday, April 2, 13
87. Platforms relationship and time in a
transmedia experience
http://www.flickr.com/photos/andresfox/5396499222/in/
photostream/ 43
Tuesday, April 2, 13
88. Platforms relationship and time in a
transmedia experience
Pre/ Past During / Present Post / Future
http://www.flickr.com/photos/andresfox/5396499222/in/
photostream/ 43
Tuesday, April 2, 13
89. Platforms relationship and time in a
transmedia experience
Pre/ Past During / Present Post / Future
Video game
Comic ARG
Migratory cue
Initial platform
(movie, website, book)
Fandom production
http://www.flickr.com/photos/andresfox/5396499222/in/
photostream/ 43
Tuesday, April 2, 13
106. Gamification
• Applying the basic elements that
make games fun and engaging to
things that typically aren't
considered a game
• Fun
• Rewards
• Social connections
54
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109. Gartner Hype Cycle
Peak of Inflated Expectations
Plateau of Productivity
Slope of Enlightenment
Trough of Disillusionment
Technology Trigger
56
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111. A report published in
January by M2
Research, a media
and entertainment
research firm,
estimated that
spending on
gamification projects
will grow to as much
as $2.8 billion by
2016 from $100
million this year.
57
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114. Gamification 101
Consumes
Game
Player
58
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115. Gamification 101
Creates Consumes
Game
Designer Player
58
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116. Gamification 101
Creates Consumes
Game
Designer Player
59
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117. Gamification 101
Creates Consumes
Game
Designer Player
Journey Rules System Fun
59
Tuesday, April 2, 13
118. Gamification 101
Creates Consumes
Game
Designer Player
Player
Journey Rules System Fun
60
Tuesday, April 2, 13
119. Gamification 101
Creates Consumes
Game
Designer Player
Player
Journey Rules System Fun
Player
Journey Mechanics Dynamics Aesthetics
60
Tuesday, April 2, 13
123. Player Journey = Lifecycle + Progression
Player Journey = Lifecycle + Progression
Good games take the player on a journey towards mastery
62
Tuesday, April 2, 13
124. Gamification 101
Player
Journey Mechanics Dynamics Aesthetics
63
Tuesday, April 2, 13
125. Gamification 101
Control: Game designer Control: Player
Formal rules and How people behave due
structure of game to these rules
• Game prepared • Processes and behaviors Way it feels to play
• What action can that arise when you the game
players take actually play the game • Overall experience
• Victory conditions • Rules in response to
• Emotional
• Rule enforcement actions
engagement
• Time Based systems • Make Progress Visible
• Curiosity,
• Reward schedules • Points, levels,
satisfaction, delight,
• Progressive Unlocks leaderboard, badges,
trust, fun, pride,
missions
• Pacing envy
Player
Journey Mechanics Dynamics Aesthetics
63
Tuesday, April 2, 13
128. Gamification 101: Monopoly
Control: Player
• At the beginning of
Control: Game designer the game,
everybody starts • Feeling of tension
• Everything you need equal and joy in the
to play beginning
• One player
• Relationship between inevitably gets rich, • Gradual loss of
the board, the pieces, while the other interest for the
and the money players are driven losing players
• Rules specifying how to poverty lose the • The joy of winning
you play game for the winner
Player
Journey Mechanics Dynamics Aesthetics
64
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129. Mechanics Dynamics Aesthetics
65
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130. Who am I playing with? How are we
engaging?
Help Players Acting Comment
Challenge
Taunt
Share Show-off
World
Socializers
Express
Compare Achievers
Interacting
Compete Explorers
Like View
Mechanics Dynamics Aesthetics
65
Tuesday, April 2, 13
131. And we’re back...to Events
• Integrate Remote Engagement as a discipline: consume/engage
• Participatory Culture: remember your attendees want to participate.
Participation is not an option, it’s a requirement. How does that differ in
physical and virtual? How do we create opportunities to support this
culture.
• Extend outside the 4 walls. What happens online shouldn’t end online.
What happens offline, shouldn’t end offline
• Take advantage of what technology has to offer
66
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132. We are all experience designers
67
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133. We are all experience designers
‣ Games are worthless
‣ Stories are worthless
‣ Events are worthless
67
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134. We are all experience designers
‣ Games are worthless unless people play them
‣ Stories are worthless
‣ Events are worthless
67
Tuesday, April 2, 13
135. We are all experience designers
‣ Games are worthless unless people play them
‣ Stories are worthless unless people listen to them
‣ Events are worthless
67
Tuesday, April 2, 13
136. We are all experience designers
‣ Games are worthless unless people play them
‣ Stories are worthless unless people listen to them
‣ Events are worthless unless people go to them
67
Tuesday, April 2, 13
137. We are all experience designers
‣ Games are worthless unless people play them
‣ Stories are worthless unless people listen to them
‣ Events are worthless unless people go to them
• Consumers don’t come for the game/story/event.
67
Tuesday, April 2, 13