In an effort to document the course we're taking to "branch." I wanted us to bounce some ideas, references and links in prep for next week. Thinking this will serve as a jumping off point for our discussion. Also interested to get a sense of what you're interested in and you feel is critical to the art, craft & biz of storytelling etc.
Over the course of the semester this discussion will branch out to include all of our guest speakers and other practitioners
I was thinking that we'd cover some of the following DURING our convo in class. Open to suggestions of topics you'd be interested in exploring. The overall theme is Scripting for multiple platforms and immersive experiences.
- where to start
- balancing story and game
- personal experiences and war stories
- favorite projects and why
- finding the emotional core in a fragmented landscape
Since you both share so much around the the art, craft & biz of storytelling already. Can you take a moment to share your sites, books and upcoming projects as links so that the students can check them out before and after class?
Also if could give a brief statement about what the project is as well. Thanks.
OK! Here is a little more than anybody actually wanted to hear about me and what I'm working on!
This is my main website: deusexmachinatio.com -- It's my blog, and I talk a lot about writing, process, games and game design, etc. You may be particularly interested in the Making Felicity series, in which I attempt to thoroughly document my decision-making process for a project: deusexmachinatio.com
I've also written a book, A Creator's Guide to Transmedia Storytelling, which is meant to be a practical introductory primer for people who actually want to make their own stuff: acreatorsguide.com
I have an ebook of short stories out: amazon.com -- That project isn't transmedia, but its origins are notable for indie creators. It started because I had one short story I couldn't sell, so I ransomed it on Kickstarter. If I funded, I'd put it up under a Creative Commons license. I funded at 300% of my goal. I went on to publish this short collection of stories I wrote as backer rewards.
I have a collaborative project going called Balance of Powers: balanceofpowers.org -- written with Adrian Hon, Naomi Alderman, and David Varela. It's an occult alt-history Cold War thriller, published as an online serial, and includes live online events where the audience can be in the story, and physical artifacts such as a newspaper.
I'm also writing a book for an interactive children's project called Imaginary Friends with Stitch Media, but I'm not sure how much I'm allowed to say, so just watch the video here: imaginaryfriendbooks.com
Annnnnd finally all of this indie stuff is lovely, but actually a lot of my time and energy is spent on projects that are essentially transmedia marketing campaigns, often for a TV show, such as this one for Deadly Affairs, in which I got to script for Emmy-winning actress Susan Lucci: isitadeadlyaffair.com
Wow, sorry for the link repetition, I didn't realize it would act like that! And if you'd like me to share anything more actionable or practical, do let me know!
Thanks Andrea. This is great. In terms of discussion topics is there anything that you'd like to cover based upon what you know of the class?
Both you and Chuck will be joining us as we're shaping the "core" of our immersive project. Mixing a bit of design thinking, narrative design and light game mechanics. Outside of our discussion and Q&A with the students we're going to bring you guys into a rapid prototyping session.
Here's a description of the prototyping session
These sessions invite interdisciplinary teams to work together on finding solutions to local problems using methods that fuse storytelling with games mechanics and design thinking to inspire collaborative action and social good. We designed the hour-long exercise to ignite the imaginations of all participants, taking them out of their comfort zone within a safe environment and giving them a firsthand experience of what it means to create a better future in collaboration with peers that have different horizons and objectives.
Conceptually we have two goals. One is to introduce and spread ways to design and implement smart solutions quickly. The other is to develop action plans that can make the world work for 100% of humanity. To ensure our solutions don’t get lost, we collect them on wishforthefuture.com for other people to develop them further, get inspired, learn, and take action. The activity itself is meant to provide participants with takeaways around storytelling techniques and games that facilitate fruitful collaboration.
We tie the session to a general design question following Buckminster Fuller's quote:
'How do we make the world work for 100% of humanity in the shortest possible time through spontaneous cooperation without ecological damage or disadvantage to anyone?'
Within that frame of mind, we generate a specific design question and have a prototyping and storytelling team develop a solution within an hour. The underlying premise is to use a global wish in order to fuel local action.
Expect to have a ton of fun, try the absurd and learn something valuable.
HELLO HUMANS OF TRANSMEDIATOWN.
I'm Chuck Wendig, novelist, game designer, screenwriter, transmedia acolyte and/or proselyte.
You can find my blog (which focuses on writing and storytelling) at: terribleminds.com
Novels:
BLACKBIRDS, MOCKINGBIRD, DOUBLE DEAD, DINOCALYPSE NOW, and BAIT DOG.
Connected to BLACKBIRDS and MOCKINGBIRDS is this "death blog" I created, called THIS IS HOW YOU DIE:
And there's a kinetic text animated "short story/book trailer" introducing the character:
I'm the co-writer of (with Lance): Pandemic --
And Collapsus --
Finally, I wrote this thing about transmedia:
To offer a thought, I'd like to mention what, for me, separates a traditional story from a "game-based" story --
A traditional story attempts to share the story of the teller. There is, in fact, quite a bit of ego involved -- and nothing wrong with that. Ego is what drives storytelling, this act of saying, "This story I want to tell is worth the telling and the receiving."
A game-story, however, removes ego. It is far less selfish a medium for story delivery, wherein the "creator" is actually endeavoring to help the player tell his or her own story. You're putting the pieces into the hands of the player and allowing them to craft a narrative (meaning, a unique experience with ups and downs and conflicts and customizations) from that.
Actually that's a great point Chuck. We should make sure to cover emergent forms of narrative and gaming during our discussion. It seems as immersive experiences can have a mix of that "ego" you describe. Because when giving agency to players / viewers to participate or craft elements that touch into the cannon there can be the emergence of a swarm of egos.
There's a related issue I've been thinking about, too, which is the point of view of your project (or pieces of your project.) First/second/third person POV take on a different texture when you're talking about a narrative where the audience really does have relationships and agency in the framework of the story.
Thanks so much for sharing with the class. Was wondering if you guys had any takeaways? Any thoughts, comments or additional resources for the class?
I think a process like what the groups were going through yesterday is going to be tricky and take some time -- but that's a good thing. It helps to do things that take us out of our comfort zone and force us to tell stories in teams (one could argue that our original mode of storytelling was around a fire with multiple participants contributing).
Be very cool to see that process distill down even more into something more game-like, with rules and mechanisms to go with it.
Good luck to all the participants! Kick down the doors of your perception. Think in ways you never expect. Find visceral, emotional reactions and powerful themes that speak to you first -- then mitigate and moderate for the audience.
CLASS #4
I was thinking that we'd cover some of the following DURING our convo in class. Open to suggestions of topics you'd be interested in exploring. The overall theme is design in immersive storytelling experiences.
- where to start
- what makes for a good immersive experience
- teams and process
- personal experiences and war stories
- favorite projects and why
- finding the emotional core in a fragmented landscape
Can you share a brief bio or statement about yourself and your work? Also feel free to share any relevant links.
Can you take a moment to share some of your favorite projects in the space and why? Please make sure to include a link / links.
I'm the Senior Manager for the Sundance New Frontier Story Lab, an artist program aimed at supporting work that is interactive, immersive, or multi-platform. It's my job to solicit submissions, evaluate projects, and build the Lab program. I report to the head of the Feature Film group and work in conjunction with the various departments at Sundance including Festival Programming and the Documentary Film Program. sundance.org
Prior to working at Sundance I spent many years as a Creative Executive for MTV Films at Paramount Pictures working on the development, production and acquisition teams on Feature Films, and produced a pilot for Comedy Central.
I've included a link to some of my favorite projects, most of which may not be new to any of you. While I responded to each of these for slightly different reasons, the reason why I love them is that they both hit me on an emotional level, and that ranks high for me when looking at interactive work.
pinepoint.nfb.ca
thewildernessdowntown.com
This project I love because I think it's clever and I love the spirit of it.
It's best viewed in Google Chrome with pop-ups enabled.
Hey Greg and Nick can you share a brief bio or statement about yourself and your work? Also feel free to share any relevant links.
Can you take a moment to share some of your favorite projects in the space and why? Please make sure to include a link / links.
Thanks for your feedback! Team Branch
