The document discusses several types of interactive and transmedia storytelling forms including interactive documentaries, news games, web documentaries, augmented reality games, and transmedia storytelling across TV shows and mobile games. It outlines recurring features such as nonlinear narratives, multimedia content, and user-generated content shaping the experience. Main challenges discussed include balancing interactivity and narrative, preventing content overload, and coordinating a coherent transmedia experience. Common mistakes mentioned are lack of resources for other platforms, parts of the experience not standing alone, and forgetting to tell a story.

26. recurring features:
• multiple-choices interfaces
• multimedia content
• non-linear narrative structure
main challenges:
Hollow (Elaine McMillion) | Interactive documentary
• going non-linear without sacrificing
narration
• keeping a balance between interactivity
and author’s intention
• making the interaction the story
frequent mistakes:
• content tsunami
• narrative maze
• non-contributing interactivity
• ergonomical nightmare
Gaza Sderot (ARTE) | Webdocumentary | Documentary

27. recurring features:
• serious intentions combined with
playful mechanisms
• «classic gaming» features : levels, rules,
rewards...
main challenges:
Type:RIder (ARTE) | Mobile & social game | Interactive installation
• not letting the information delivery ruin
the gaming experience
• not letting the gaming experience hinder
the information delivery
• being really fun and challenging to play
frequent mistakes:
• overly simplistic game design
• confusion between gaming and
gamification
• forgetting to tell a story
SPENT | News game

28. recurring features:
• TV or cinema-centered
• long-lasting experiences
• special content for hardcore fans
• strong ties with marketing campaigns
main challenges:
Defiance (SyFy) | TV Show | MMORPG
• preserving some distinction between
transmedia and marketing
• spending more time for the 5% of
hardcore fans than for the other 95%
• keeping the whole experience coherent
frequent mistakes:
• lack of resources for platforms other
than the main medium
• some parts of the experience don’t
stand alone
The Spiral (ARTE) | TV Show | ARG

29. recurring features:
• thin line between reality and fiction
• players embodying fictional characters,
much as in role playing
• results of the ARG shaping the
unfolding of the transmedia experience
Alt-Minds (ARTE) | Mobile game | ARG | Webseries
main challenges:
• dealing with the logistics
• keeping the player’s community coherent
and interactive
• drawing links with the rest of the
experience
frequent mistakes:
• lack of social features
• forgetting rewards for a very
demanding activity
Why So Serious | ARG

30. recurring features:
• offering users to co-create the project
• content also available for noncontributors
• UGC or contributions shaping the
whole transmedia experience
Une Contre-Histoire des Internets (ARTE)
main challenges:
• editorialization of contributions or UGC
• incentives for participation
• legal status of UGC content
frequent mistakes:
• lack of recognition or rewards for
participants
• unclear impact of participation on the
project
Life in a Day (National Geographic & YouTube) | Feature film

31. • gamedocs
• mobile apps
• digital publishing
• social games
• second screen apps
• long-form articles
• interactive webseries
• role-playing on social
Fort McMoney (ARTE/ONF) | Gamedoc | Documentary
networks
• tweetterature
• and whatever we’ll do
with Google glasses...
Snow Fall (New York Times) | Long-form interactive article

73. Thank you for your immersion
in this keynote!
#TribecaHacks
@racontr
Content, ideas and material partly stolen from
Florent Maurin, Gerald Holubowicz, David Dufresne, Ian Schreiber and probably others I forget.