Back to the original concept of my character Sophe “The Online Lurker” , somebody who views social networks but doesn’t post herself, really got me thinking. So far my time constraints and audience engagement has put me off following through with this idea, however I feel like it could still be possible. This quote got nearly 7500 likes on Instagram so is obviously something a lot of people relate too. I think from now I really need to develop the character of Sophe and tell her story as somebody who feels a bit overlooked in terms of the social circle of life.
Transmedia Storytelling defined,
“Transmedia storytelling is a contemporary embracing of a classical paradigm in entertainment that enables the imagination via story-driven extensions into a ‘world’ in which a player seeks to be further immersed. the keys being there – enabling the imagination and allowing the players to further immerse themselves where they have that desire. Transmedia storytelling is not marketing and merchandising based extensions into an existing franchise which is being further exploited.It’s a narrative framework that invited the player in and allows them to co-create, if only through their imagination. Transmedia storytelling enables viewer/users/players to be, rather than seeming to be in an authored interactive world.”
Taken from BBC Academy Article “Transmedia Storytelling 101“
- Transmedia narrative = multiplatform storytelling
- Knowing the audience is already out there
- Content is important BUT context and finding is key
- Audience participation
- Transmedial work requires the user/viewer/player to transform the story via his or hers own natural cognitive psychological abilities and enables the meaning/lessons learned to surpass the medium itself
The Narrative Design Explorer:
“Reaching out to people and enriching their world with play and enriching their world with play, intrigue, fun and ultimately joy. Using a combination of game design, UX, traditional story development techniques, writing and visual theory, production design”
Oxford Dictionary Definition:
plural noun: narratives
1. a spoken or written account of connected events; a story.
As human beings we have related and communicated with one another through the method of story telling for years and years. Listening to one another enables the broadening of culture and allows for better self construct in relation to a wider social environment.
Storytelling can be educational; formed, informed and re-formed in order to suit those surrounding them. Narratives are a form of discourse, the discursive way in which we organise, account for, give meaning to, and understand. The way in which people choose to organise their self identities are based on the experiences they have had, and by using narration of their lives they can develop a better understand the past the present and the future.
Multiple linked Narratives:
– Entertaining but only when full attention of audience has been achieved.
– Requires fast pace storyline, maintaining suspense and large quantity of narrative materials
Multiple Independent Narratives under the same topic:
– Free standing, more engaging, short and sharp so better hold attention of audience.
– Stories that have their characters, settings and plot lines displayed as if they could really exist in reality
– Requires detailed scripting and total audience engagement
Artistic Non Fiction:
– Allows audience to “be the story”, to put themselves within the content.
Fixed Single Narrative:
– Good for clear interactivity
– Bad for immersive experience, unspecified narrative pathway
Unstructured Pathway Narrative:
– See multiple independent narrative.
– Human culture is analysed, semiotically – as a systems of signs. What signs that we are connected to an online world?
– Roman Jakobson, Claude Levi-Strauss, Jaques Lacan, Michael Foucalt, Louis Althusser, Roland Barthes
– Approach to textual analysis – reader replaces the author as the primary subject of enquiry.
– History/culture/external factors need to be understood as well as the object itself because they can cause bias and misinterpretations.
– Multiplatform method of narration
– Knowing the audience is already out there – social media users, haters, lovers…everyone wants to have an opinion regardless of what it is.
– Content is important but context and finding are key.
– The transmedia, i.e. video, sound, image, links, colors, etc, requires the user/viewer/player to transform the content into context by engaging his or hers own, natural cognitive psychological abilities, and enables the meaning and realisation gained to surpass the actually medium and content itself.
– Poetic. Historical material/lyrical
– The Expository Mode = social issues, argumentative
– The Observational Mode = social factors/freedom
– Participatory – reliant on audience input/feedback, honesty and enthusiam
– Reflexive – audience present
– Performative – emotional and subjective context.
– Self Identity, subjective identity, social identity (Barker 2008)
– Anti essentialist (changeable – target, those on the fence about social media and could have their opinion swayed one way or the other. )
– Essentialist (Fixed opinion – those who will either love or hate the process, concept and idea)
– Semiotics – Saussure (1974) “signifier and signified”
– Barthes (1968) “denotation and connotation”
– How meaning is created from something simplistic. This is essential because the project work mimics social media processes, functionalities etc.
– Sosnoski (2010) Cultural Configuration – “the performance of a cultural practice so that the listener or reader can learn how to behave as a member of the culture” – creating an insightful relatable experience.
– Gerbner (1960) Cultivation Theory – Cultivation of media technologys leaves people with a misperception of what is true in our world.