"Transmedia & Advertising: What Advertisers, Marketers, Brands & Businesses Can Learn from Transmedia Storytelling" - presentation from "The Story To Sell", a conference on transmedia storytelling held in Amsterdam on 11 June 2009. Presentation by Ivan Askwith, Senior Content Strategist at Big Spaceship
18. After one year, the number of viewers who had
visited BMW's Web site to download The Hire shot
to over 21 million, and with three more lms added
in 2002, it rocketed to 100 million, sparking a
Harvard Business School case study. One million
enthusiasts ordered a DVD with all eight lms.”
22. The company says the game has generated four
times more online buzz for the A3 compact car, has
engaged more than 200,000 people in a single
day, and has attracted 79 percent more quali ed
visitors to the Audi Web site, as compared with
previous efforts.
"The Art of the Heist represents a true innovation in
the way Audi connects with its target consumer."
Stephen Berkov
Director of Marketing
Audi of America
23.
24.
25. Coca-Cola’s Happiness Factory [has been
developed] as a virtual world of characters and
storylines that has impacted sales of Coke
globally and will provide revenue streams that
can be exploited through the likes of comics,
videogames and lms.
Jonathan Mildenhall
VP of Global Advertising & Creative Excellence
The Coca-Cola Company
40. potential problems
(1) Sometimes transmedia narratives promote
themselves, instead of brands or products.
(2) Just because a brand can be integrated into a
transmedia narrative doesn’t mean it should be.
(3) Not all brands bene t from the creation of
detailed transmedia narratives; some get hurt.
41. how can all companies & brands use
transmedia storytelling?
maybe some can’t.
42. de ning transmedia storytelling
Transmedia stories are
those which “unfold across
multiple media platforms
with each new text making
a distinctive and valuable
contribution to the whole.”
43. de ning transmedia storytelling
(1) Unfolds across multiple media platforms with each part
making a unique and valuable contribution to the whole.
(2) Each medium should do whatever it does best.
(3) At best, each part is self-contained to make it accessible
on its own terms, without the rest of the components.
(4) The vision needs to be consistent and uni ed; if it is
redundant or self-contradicting, participants will notice.
(5) Can attract multiple audiences by using different
approaches, in different media, to reach each group.
(6) The logic shifts from “licensing” to “co-creation.”
(7) Can form communities when it brings people together
and gives them something to do.