“Transmedia” has become the new buzzword for multi-platform narratives, but in the digital age, transmedia isn’t just how we consume entertainment narratives, it’s how we experience the narrative of our lives.
Story, Sci-Fi & Transmedia to develop Corporate Technology Strategies.Hubbub Media
This document discusses using science fiction and transmedia storytelling to develop corporate technology strategies and visions of the future. It provides examples of how sci-fi concepts and speculative fiction have been used to explore philosophical ideas and future technologies. The document also discusses using experience design, transmedia structures and storytelling to engage audiences across multiple platforms and media. The goal is to help companies and organizations envision and communicate future experiences in an immersive, interactive way.
An extended narrated version of a presentation I gave at The Pixel Lab, UK, July 2010 - http://www.powertothepixel.com/events-and-training/pttp-events/pixel-lab.
This document summarizes the key aspects of the Transmedia Storytelling presentation. It discusses (1) an overview of the "Lowlifes" transmedia project, including its crime mystery story and characters told across a novella, web series and blog; (2) how each character's story is the focus of their own media platform; and (3) how the project was designed for mobile and free digital distribution, with optional paid content, to maximize audience engagement and drive the franchise forward.
In this document, the author discusses transmedia storytelling and its potential applications for learning in children aged 5 to 11. Some key points:
- Transmedia refers to stories and characters that are extended across multiple media platforms. Sesame Street was an early pioneer of this approach.
- Transmedia experiences can promote learning through active engagement with complex narratives across different media. This encourages skills like textual, visual, and media literacy.
- Well-designed transmedia has the potential to create immersive learning environments that leverage children's interests in stories, play, and sharing media with others. Even experiences not designed for learning explicitly can still support learning.
Transmedia storytelling Narrative strategies, fictional worlds and branding ...Carlos Alberto Scolari
The document discusses transmedia storytelling, which involves telling narratives across multiple media platforms. It provides definitions of transmedia storytelling, comparing it to related concepts. Examples are given of franchises that effectively use transmedia storytelling like Star Wars and 24. Strategies for expanding fictional worlds across media are discussed. The importance of transmedia storytelling for branding and monetization is also covered.
“Transmedia” has become the new buzzword for multi-platform narratives, but in the digital age, transmedia isn’t just how we consume entertainment narratives, it’s how we experience the narrative of our lives.
Story, Sci-Fi & Transmedia to develop Corporate Technology Strategies.Hubbub Media
This document discusses using science fiction and transmedia storytelling to develop corporate technology strategies and visions of the future. It provides examples of how sci-fi concepts and speculative fiction have been used to explore philosophical ideas and future technologies. The document also discusses using experience design, transmedia structures and storytelling to engage audiences across multiple platforms and media. The goal is to help companies and organizations envision and communicate future experiences in an immersive, interactive way.
An extended narrated version of a presentation I gave at The Pixel Lab, UK, July 2010 - http://www.powertothepixel.com/events-and-training/pttp-events/pixel-lab.
This document summarizes the key aspects of the Transmedia Storytelling presentation. It discusses (1) an overview of the "Lowlifes" transmedia project, including its crime mystery story and characters told across a novella, web series and blog; (2) how each character's story is the focus of their own media platform; and (3) how the project was designed for mobile and free digital distribution, with optional paid content, to maximize audience engagement and drive the franchise forward.
In this document, the author discusses transmedia storytelling and its potential applications for learning in children aged 5 to 11. Some key points:
- Transmedia refers to stories and characters that are extended across multiple media platforms. Sesame Street was an early pioneer of this approach.
- Transmedia experiences can promote learning through active engagement with complex narratives across different media. This encourages skills like textual, visual, and media literacy.
- Well-designed transmedia has the potential to create immersive learning environments that leverage children's interests in stories, play, and sharing media with others. Even experiences not designed for learning explicitly can still support learning.
Transmedia storytelling Narrative strategies, fictional worlds and branding ...Carlos Alberto Scolari
The document discusses transmedia storytelling, which involves telling narratives across multiple media platforms. It provides definitions of transmedia storytelling, comparing it to related concepts. Examples are given of franchises that effectively use transmedia storytelling like Star Wars and 24. Strategies for expanding fictional worlds across media are discussed. The importance of transmedia storytelling for branding and monetization is also covered.
This document discusses transmedia storytelling and its potential application for brands. Transmedia refers to extending story elements across multiple platforms to create an interactive, multi-layered fiction. It began as a way for entertainment companies to expand big movie and TV properties but now provides new opportunities for brands. Effective transmedia requires a large, dense fictional universe that can support multiple narratives and deeper audience engagement across channels like social media, gaming, mobile and more. It allows stories and brands to immerse audiences in new ways but must be implemented organically for success rather than just repurposing content.
A brief history of transmedia world buildingJeff Watson
This document provides a brief history of transmedia world-building across different contexts such as mythology, religion, propaganda, advertising, fan culture, art, and games. It describes how transmedia has been used for thousands of years in mythology and religion to describe story worlds across different media like plays, songs, and statues. More recently, governments, corporations, and cults have employed transmedia techniques to propagate their messages through immersive story worlds. It also discusses how fans, artists, and independent game designers have engaged in grassroots transmedia world-building activities for decades.
This presentation to the Chinese Association of Museums discusses the opportunities for museums to be part of a connected educational and social experience.
Storytelling has traditionally spanned multiple media platforms. Effective transmedia storytelling develops distinct yet interconnected narratives across different media like films, books, games and immersive experiences. To create an engaging transmedia project, one must understand the audience, develop content tailored for each medium's strengths, and maintain a cohesive narrative while incorporating audience contributions. Key considerations include having a clear vision, collaborative development, audience engagement, and an immersive narrative experience.
The document describes an example of a transmedia storytelling project called the Copper Rock Universe. It consists of three interconnected stories told across different media: 1) A supernatural western story set in 1880s Arizona, 2) A dark comedy soap opera set in 1940s Hollywood, and 3) A current-day psychological thriller connecting the stories. The project uses multiple platforms and media to immerse audiences in an expanding fictional world and tell an overarching narrative.
Crossmedia Storytelling and Game Designdrew davidson
This document discusses cross-media storytelling and game design. It covers topics like transmedia storytelling across multiple mediums, fictional universes told through various media like Star Wars and The Matrix, and how game design can incorporate narrative through techniques like alternate reality games and procedural generation. The goal is interactive engagement and creating integrated story experiences across books, films, television, games and more.
Transmedia Storytelling and Alternate Reality GamesJeff Watson
A primer for non-specialist audiences on the subject of Alternate Reality Games. Includes brief survey of prior art, diagrams illustrating the nature of networked fictions, and references to key scholars/innovators.
The document discusses virtual reality and immersive storytelling. It provides examples of using VR to tell journalistic stories about important issues like the refugee crisis. The New York Times created several VR projects, including "The Displaced" which allowed viewers to gain a deeper understanding of the refugee experience. The document discusses how VR can increase empathy and how elements of storytelling like character and narrative can be effectively incorporated into immersive VR experiences.
This document discusses the emergence of Web 2.0 storytelling practices that have grown out of new technologies and cultural forms on the Internet. It provides examples of early storytelling online through websites and blogs. It also explores various platforms used for collaborative and transmedia storytelling such as wikis, social networking sites, photo sharing sites, podcasts, and videos. Alternate reality games are discussed as a form of interactive narrative that blurs boundaries between games and stories. Potential futures of Web 2.0 storytelling are considered.
Christopher Stapleton (Simiosys, Real World Labs): The Language of VRAugmentedWorldExpo
A talk from the Design Track at AWE USA 2017 - the largest conference for AR+VR in Santa Clara, California May 31- June 2, 2017.
Christopher Stapleton (Simiosys, Real World Labs): The Language of VR, Incorporating the Interplay of Story, Games and Free-play in Virtual Worlds
Virtual Reality is a mature 50-year media technology still searching for its unique voice in advancing the human experience. Tapping diverse industry practices from entertainment, training, scientific and medical practice, Virtuality requires a unique range of performance and expression. By engaging the full bandwidth of human experience, immersive media integrates the mind, body and emotions into defining the future of individual performance. This session shares how the real world integration of Virtual Reality is scaffolding a common language of VR from the expertise of all disciplines. From training elite athletes to engaging the wonder of a child, VR becomes a convergence of all forms of media and tapping into a primitive human connection we have for storytelling, game mastery and free-play inquiry. Attendees will learn how to tap into the intuitive interplay of story play and game to provide a framework of how to orchestrate collaborative teams to systematically innovate diverse VR applications.
http://AugmentedWorldExpo.com
This document discusses how Pokemon is an example of successful transmedia storytelling. It introduced its fictional world across multiple platforms, including video games, anime, films, and trading cards. Each medium contributed uniquely to unfolding the overall story and filling narrative gaps, while still allowing each part to be enjoyable on its own. This encouraged fans to engage with the different forms and immerse themselves more deeply in the Pokemon universe. The multi-platform approach created opportunities for additive comprehension and community involvement.
Transmedia Ready Masterclass San Sebastian Film Festival 2011 bisKarine Halpern
10th Annual International Film Students Meeting
Encuentro Internacional Estudiantes de Cine
59th San Sebastian Film Festival 2011
Tabakalera International Contemporary Culture Centre
NO MORE PLAGIARY PLEASE - MENTION YOUR SOURCES - ASK PERMISSION
The Age Of Transmedia: How Brands Can Tell Better StoriesVincent Teo
This presentation looks at the rise of Transmedia Storytelling in the context of brand communications and advertising and shows 3 simple steps on how to start developing Transmedia campaigns that will create immersive and engaging brand experiences
Transmedia Zurich: Narrative and Story Structure in Games and MediaMark Melnykowycz
We often talk of stories and designing great experiences, but how does the medium we choose (book, movie, spoken-word, mobile game, etc.) influence the structure of the story.
Why is it that you can predict the key points of a sitcom without knowing all the details of the plotline? Story structure in myths we've been told since before we could speak influence how we see the world and how we tell our own stories.
The Transmedia Zurich meetup on June 27th, 2013 was all about how story structure can be identified and used in the design process, either as a basis for transmedia productions, or in smaller projects.
Mark (Lost In Reality / idezo) gave an overview of basic story strucutre, and how it is applied to different media. Included are references to the work by Joseph Campbell (The Hero with a Thousand Faces) and how choosing a narrative can be used to target the emotional design of a product (film, game, book, etc.).
This talk will explore how games play an integral part in today's crossmedia landscape. More and more, fictional worlds are being created with multiple points of entry that provide fans as little or as much access and agency as they want into the stories found in these worlds. Specific examples will be discussed in order to highlight the role that video games play in the overall experiences, as well as to illustrate how game design serves as an overarching trope through which fans are encouraged to explore the various media in order to fully experience the fictional world.
Video games are now a part of libraries, but many questions have still been left unanswered. What is the true value of the video game as a storytelling device? What kind of digital literacy does a video game offer? And most importantly, what do we do once we have the video gamers in the library? Hoenke will share insights into the video gaming culture and show through examples how this medium is a form of digital literacy that librarians cannot miss out on.
Acec2014 secondary worlds and computer gaming in educationJason Zagami
1) The document discusses secondary worlds, which are detailed fictional settings that sustain imaginative exploration beyond basic narratives.
2) It focuses on how computer games can create persistent secondary worlds that allow players to influence and change the world, share experiences with others, and contribute to the mythology in a way that literature and film cannot.
3) The popularity of computer games is examined, noting they provide temporary escape, even if worlds are shallow, and some games do not engage imagination as fully as a well-developed secondary world could.
Transmedia storytelling is the intentional integration of technology platforms and audience collaboration into a coordinated story. It creates an immersive participatory story experience which expands reach, increases persuasion and buy-in and builds an adaptable structure for a more sustainable campaign.
The purpose of the book is to stimulate ideas and inspiration. It’s a small catalog of participatory transmedia storytelling experiences intended to remind, suggest, provoke and inspire creators.
This document discusses transmedia storytelling and its potential application for brands. Transmedia refers to extending story elements across multiple platforms to create an interactive, multi-layered fiction. It began as a way for entertainment companies to expand big movie and TV properties but now provides new opportunities for brands. Effective transmedia requires a large, dense fictional universe that can support multiple narratives and deeper audience engagement across channels like social media, gaming, mobile and more. It allows stories and brands to immerse audiences in new ways but must be implemented organically for success rather than just repurposing content.
A brief history of transmedia world buildingJeff Watson
This document provides a brief history of transmedia world-building across different contexts such as mythology, religion, propaganda, advertising, fan culture, art, and games. It describes how transmedia has been used for thousands of years in mythology and religion to describe story worlds across different media like plays, songs, and statues. More recently, governments, corporations, and cults have employed transmedia techniques to propagate their messages through immersive story worlds. It also discusses how fans, artists, and independent game designers have engaged in grassroots transmedia world-building activities for decades.
This presentation to the Chinese Association of Museums discusses the opportunities for museums to be part of a connected educational and social experience.
Storytelling has traditionally spanned multiple media platforms. Effective transmedia storytelling develops distinct yet interconnected narratives across different media like films, books, games and immersive experiences. To create an engaging transmedia project, one must understand the audience, develop content tailored for each medium's strengths, and maintain a cohesive narrative while incorporating audience contributions. Key considerations include having a clear vision, collaborative development, audience engagement, and an immersive narrative experience.
The document describes an example of a transmedia storytelling project called the Copper Rock Universe. It consists of three interconnected stories told across different media: 1) A supernatural western story set in 1880s Arizona, 2) A dark comedy soap opera set in 1940s Hollywood, and 3) A current-day psychological thriller connecting the stories. The project uses multiple platforms and media to immerse audiences in an expanding fictional world and tell an overarching narrative.
Crossmedia Storytelling and Game Designdrew davidson
This document discusses cross-media storytelling and game design. It covers topics like transmedia storytelling across multiple mediums, fictional universes told through various media like Star Wars and The Matrix, and how game design can incorporate narrative through techniques like alternate reality games and procedural generation. The goal is interactive engagement and creating integrated story experiences across books, films, television, games and more.
Transmedia Storytelling and Alternate Reality GamesJeff Watson
A primer for non-specialist audiences on the subject of Alternate Reality Games. Includes brief survey of prior art, diagrams illustrating the nature of networked fictions, and references to key scholars/innovators.
The document discusses virtual reality and immersive storytelling. It provides examples of using VR to tell journalistic stories about important issues like the refugee crisis. The New York Times created several VR projects, including "The Displaced" which allowed viewers to gain a deeper understanding of the refugee experience. The document discusses how VR can increase empathy and how elements of storytelling like character and narrative can be effectively incorporated into immersive VR experiences.
This document discusses the emergence of Web 2.0 storytelling practices that have grown out of new technologies and cultural forms on the Internet. It provides examples of early storytelling online through websites and blogs. It also explores various platforms used for collaborative and transmedia storytelling such as wikis, social networking sites, photo sharing sites, podcasts, and videos. Alternate reality games are discussed as a form of interactive narrative that blurs boundaries between games and stories. Potential futures of Web 2.0 storytelling are considered.
Christopher Stapleton (Simiosys, Real World Labs): The Language of VRAugmentedWorldExpo
A talk from the Design Track at AWE USA 2017 - the largest conference for AR+VR in Santa Clara, California May 31- June 2, 2017.
Christopher Stapleton (Simiosys, Real World Labs): The Language of VR, Incorporating the Interplay of Story, Games and Free-play in Virtual Worlds
Virtual Reality is a mature 50-year media technology still searching for its unique voice in advancing the human experience. Tapping diverse industry practices from entertainment, training, scientific and medical practice, Virtuality requires a unique range of performance and expression. By engaging the full bandwidth of human experience, immersive media integrates the mind, body and emotions into defining the future of individual performance. This session shares how the real world integration of Virtual Reality is scaffolding a common language of VR from the expertise of all disciplines. From training elite athletes to engaging the wonder of a child, VR becomes a convergence of all forms of media and tapping into a primitive human connection we have for storytelling, game mastery and free-play inquiry. Attendees will learn how to tap into the intuitive interplay of story play and game to provide a framework of how to orchestrate collaborative teams to systematically innovate diverse VR applications.
http://AugmentedWorldExpo.com
This document discusses how Pokemon is an example of successful transmedia storytelling. It introduced its fictional world across multiple platforms, including video games, anime, films, and trading cards. Each medium contributed uniquely to unfolding the overall story and filling narrative gaps, while still allowing each part to be enjoyable on its own. This encouraged fans to engage with the different forms and immerse themselves more deeply in the Pokemon universe. The multi-platform approach created opportunities for additive comprehension and community involvement.
Transmedia Ready Masterclass San Sebastian Film Festival 2011 bisKarine Halpern
10th Annual International Film Students Meeting
Encuentro Internacional Estudiantes de Cine
59th San Sebastian Film Festival 2011
Tabakalera International Contemporary Culture Centre
NO MORE PLAGIARY PLEASE - MENTION YOUR SOURCES - ASK PERMISSION
The Age Of Transmedia: How Brands Can Tell Better StoriesVincent Teo
This presentation looks at the rise of Transmedia Storytelling in the context of brand communications and advertising and shows 3 simple steps on how to start developing Transmedia campaigns that will create immersive and engaging brand experiences
Transmedia Zurich: Narrative and Story Structure in Games and MediaMark Melnykowycz
We often talk of stories and designing great experiences, but how does the medium we choose (book, movie, spoken-word, mobile game, etc.) influence the structure of the story.
Why is it that you can predict the key points of a sitcom without knowing all the details of the plotline? Story structure in myths we've been told since before we could speak influence how we see the world and how we tell our own stories.
The Transmedia Zurich meetup on June 27th, 2013 was all about how story structure can be identified and used in the design process, either as a basis for transmedia productions, or in smaller projects.
Mark (Lost In Reality / idezo) gave an overview of basic story strucutre, and how it is applied to different media. Included are references to the work by Joseph Campbell (The Hero with a Thousand Faces) and how choosing a narrative can be used to target the emotional design of a product (film, game, book, etc.).
This talk will explore how games play an integral part in today's crossmedia landscape. More and more, fictional worlds are being created with multiple points of entry that provide fans as little or as much access and agency as they want into the stories found in these worlds. Specific examples will be discussed in order to highlight the role that video games play in the overall experiences, as well as to illustrate how game design serves as an overarching trope through which fans are encouraged to explore the various media in order to fully experience the fictional world.
Video games are now a part of libraries, but many questions have still been left unanswered. What is the true value of the video game as a storytelling device? What kind of digital literacy does a video game offer? And most importantly, what do we do once we have the video gamers in the library? Hoenke will share insights into the video gaming culture and show through examples how this medium is a form of digital literacy that librarians cannot miss out on.
Acec2014 secondary worlds and computer gaming in educationJason Zagami
1) The document discusses secondary worlds, which are detailed fictional settings that sustain imaginative exploration beyond basic narratives.
2) It focuses on how computer games can create persistent secondary worlds that allow players to influence and change the world, share experiences with others, and contribute to the mythology in a way that literature and film cannot.
3) The popularity of computer games is examined, noting they provide temporary escape, even if worlds are shallow, and some games do not engage imagination as fully as a well-developed secondary world could.
Transmedia storytelling is the intentional integration of technology platforms and audience collaboration into a coordinated story. It creates an immersive participatory story experience which expands reach, increases persuasion and buy-in and builds an adaptable structure for a more sustainable campaign.
The purpose of the book is to stimulate ideas and inspiration. It’s a small catalog of participatory transmedia storytelling experiences intended to remind, suggest, provoke and inspire creators.
"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
This was a presentation that I gave back in April. Since then we have done more advanced Transmedia work and I hope to share that case study soon when we get the full results. Sorry it took so long to upload this.
Simple one-sheet to help transmedia storytellers present their projects. The aim is to get some consistency of presentation so that those listening can "get it" more quickly.
The End of TV as We Know It & The Birth of TransmediaOgilvy
Doug Scott, President, OgilvyEntertainment and Matt Doherty, Transmedia Architect, Ogilvy & Mather Worldwide presented The End of TV as We Know It & The Birth of Transmedia at the 21st Century Storytelling Conference: Content, Context and Conversations sponsored by Microsoft, Ogilvy & BrainJuicer on July 31, 2012 in Chicago.
Throughout history, we have told stories. Stories are what connect us across geographies, cultures and experiences; stories demonstrate that we share the same hope, dreams, fears, challenges and desires. Today's complex, digtally connected consumer universe makes brand storytelling more challenging, but also creates opportunities for brands to tell their stories in new ways.
Doug Scott and Matt Doherty discussed how the idea of TV might be a thing of the past, but the stories that drive our content will always be our constant. Our variable? Telling. Telling has evolved due to the primary role of digital in our lives and disruptive innovation which has given us the ability to craft transmedia experiences. Transmedia has brought about a new set of creative tools and narratives that are rooted in content, formed by context and crossed by all things culture. Are you a story? Or are you a teller?
The days of 'launch and leave' are coming to an end. Now advertising must be thought of as improvisation; campaigns are evolving creatures which must be monitored and tailored as they unfold, otherwise they cease to be relevant.
Real time reaction is now essential – reacting and evolving in response to consumer feedback means campaigns can maximise opportunities to engage with consumers and allow them to become a real part of campaigns. Historically advertising agencies have been built to deliver at the 'Speed of Production'. Leo Rayman explains why this needs to change so that they operate at the 'Speed of Culture'. This implies big changes to the culture, skillsets, processes and structures of agencies.
This document provides a summary of key strategies for effective communication during an economic downturn. It discusses cutting costs selectively while maintaining marketing activities to protect brand equity in the long run. Specifically, the document recommends: (1) cutting less than competitors to gain market share during the recovery, (2) using emotional branding to strengthen customer connections, and (3) continuing innovation and fame-building campaigns to drive growth. The overall message is that recessions accelerate changes in consumer behavior, so companies must adapt strategically while retaining their strategic assets.
This document summarizes a presentation on transmedia storytelling for brands. It discusses how stories can inspire feelings and evoke emotions, helping audiences understand information. It also discusses brand equity, transmedia storytelling, examples of transmedia campaigns, and how to craft a brand's story across multiple media platforms to engage audiences and increase sales. The goal is to use emotional storytelling across different media to increase brand awareness, loyalty and profits.
The document discusses strategies for engaging players in social games, including:
- Using badges to incentivize experimentation and reward effort in order to encourage players, especially new players, to try different aspects of the game.
- Wanting to encourage positive community behaviors while also rewarding personal achievement.
- Mentioning different types of players (achievers, socializers, explorers, killers) based on Bartle player types and how to engage each type.
- Discussing making the game experience feel unfamiliar but making it easier for new players through tutorials, points, badges and rewards.
The document discusses how the speed of information sharing has increased dramatically in recent decades. It notes that in less than 50 years, the speed of information has increased more than in the entire previous 8000 years. It also provides examples of how long it took for information to travel from certain historical events to reach London, with the times decreasing significantly from over 2 weeks in the early 1800s to just minutes or seconds now. The document suggests this increased speed has led to a more open, collaborative and curated approach to content sharing and the development of a "Speed culture." It advocates embracing and influencing the flow of information rather than trying to control it.
A statistical analysis of over 20,000 customer surveys found that totally satisfied customers contribute much more revenue than somewhat satisfied or dissatisfied customers. Specifically, totally satisfied customers contribute 2.6 times as much as somewhat satisfied customers and 14 times as much as somewhat dissatisfied customers. Totally dissatisfied customers decrease revenue at 1.8 times the rate of what totally satisfied customers contribute. It is the responsibility of service providers to set and adhere to service standards to ensure consistent customer satisfaction.
The document discusses strategies for airlines to build brand value and influence in a challenging economic environment. It outlines four key principles: 1) Stand for something by connecting emotionally with customers on issues they care about; 2) Do remarkable things through innovative experiences that capture customers' imaginations; 3) Cultivate advocates by empowering customers to spread positive messages; 4) Collaborate across departments to ensure consistency in delivering the brand promise. Examples are given of airlines like Emirates, Sama Airlines, JetBlue, and American that have successfully applied these principles.
This document summarizes four articles related to research on Harry Potter and the concepts of franchise and transmedia. Article 1 discusses transmedia storytelling and its role in contemporary media production. Article 2 examines the cultural logic of media convergence. Article 3 analyzes cross-media storytelling and its current state, observing opportunities for future design. The articles provide information on expanding narratives across multiple platforms and branding strategies in modern media industries.
SoMe Awards Presentation by Dr. Pamela Rutledge and Dr. Jerri Lynn Hogg on the science of audience engagement. Highlights persona development and role of deep metaphors for engagement.
The psychology of story by Dr. Pamela Rutledge to explore impact of social media innovations such as Intel's social films (i.e. The Beauty Inside) and Sony's Chefs and Musicians, Culinary Beats series presented at SoMe Awards, 2014, Portland.
How to pitch cross platform projects and what materials you need. Presented by Kirsty Hunter, UK MD of The Project Factory at the Documentary Campus in Sheffield in June 2011.
This document discusses brand advocacy and why it is important for companies. It argues that advocacy is critical now because word-of-mouth recommendations strongly influence consumer purchase decisions, especially during an economic recession. The document provides two case studies, one on how Microsoft engaged advocates to promote its Windows Media Center and another on how the movie The Watchmen engaged advocates through various online and social media strategies. It concludes by discussing practical considerations for companies looking to develop advocacy programs, including understanding audiences, cultural trends, and positioning stories in an ethical manner.
Presentation for the Digital Communication and Culture program of the University of Sydney, based on Henry Jenkins\' (http://www.henryjenkins.org/) work.
Cross media between gaming and storytellingValentina Rao
This document discusses cross media storytelling, which involves telling stories across multiple media platforms. It defines different types of convergence and discusses how stories can be told across new and old media. Cross media aims to move audiences from one medium to another and encourage participation. While cross media shares elements with gaming, its main goal is storytelling. Examples of cross media projects are provided that combine television, virtual worlds, games and other media to tell transmedia stories.
Should We? Could We? Would We? Films in the Age of Cross-Media ProductionChristy Dena
Keynote presentation at Power to the Pixel, London Film Festival, October 2008. This presentation won't make much sense without the accompanying video, which is now at Blip.tv here: http://powertothepixel.blip.tv/file/1410667/. NTB have also put up audio files of all the talks: http://notthisbody.wordpress.com/2008/10/28/ntb-pttp/
This document discusses the concept of transmedia storytelling, which involves telling a story across multiple media platforms. It defines different levels of transmedia from "pushed media" to "experienced/bridged media". Examples like The Matrix, Pokemon, and Yu-Gi-Oh are analyzed as transmedia texts that use movies, television shows, comics, games, and other media to immerse audiences in fictional worlds and allow participation across platforms. The document concludes with discussion questions about how transmedia can be used aesthetically and as a marketing tool, as well as how new technologies are changing transmedia projects.
Reesa Brown's presentation at Icon 2008: Revolutions, in Tel Aviv Israel. This slideshow covers recent developments in online storytelling as well as a preview of the Continuous Coast project.
Arse Elektronika 2008 - What is the 21st Century Novel?Continuous Labs
The document discusses the evolving nature of 21st century novels and storytelling. It explores how new forms utilize multiple media like podcasts, ARGs, and online serials. It also examines how stories blur fiction and reality, as well as the line between professional and fan works. The document concludes that 21st century storytelling is collaborative, multidisciplinary, and not confined to traditional novel formats. It also presents the Continuous Coast project as an example of an open shared world utilizing many new storytelling techniques.
COSPLAY COLONISTS: Rise of the Creative AudienceDave Cobb
Originally presented at Savannah College of Art & Design during the SATE conference on 10/4/13 (http://goo.gl/eYUywm), this talk explores the ways in which fans creatively express themselves through role-playing and user-generated experiences. Increasingly, fans are not content to merely consume the things they love, but desire to live out their fantasies in the real world, leading to intersections of audiences and destinations that have never before existed.
Experience Design for story- and game- Worlds (XDW) : Introduction Hubbub Media
This document discusses experience design for transmedia story worlds. It advocates for an installment or episodic approach to transmedia projects that allows each part to be independently funded while building toward a larger whole. It presents a case study of a transmedia sci-fi thriller called Saligia-7 that bridges multiple media formats. The document also provides considerations for audience engagement, building communities around stories, and bringing together producer vision, research, and design documents to plan transmedia projects.
StoryWorld Quest is a three-day conference in Edmonton, Alberta Canada that discussed the latest in storyworld design and telling, bringing together experts from the digital, film, television and transmedia spaces.
Keynotes, panels and open forum discussions took place that defined the latest in narrative strategies with insights from filmmakers, producers, technologists, broadcasters, developers, game designers, writers, academics, and marketing executives.
Here is just a brief recap and key takeaways that stood out in my mind.
For more about me, visit http://mattdoh.com
Digital storytelling allows for new forms of nonlinear, contextual narratives across multiple media platforms. Stories can take fractal paths as audiences participate in cocreating and sharing content. While some online stories are fleeting, context and communities help form coherent narratives. Effective digital storytelling considers the audience experience, engages fan participation, and integrates personal stories across platforms to bring people together.
The document discusses Cuba's food revolution, which was a response to an economic crisis that caused food shortages. Cuba had to become more self-sufficient in food production, leading to innovative sustainable agriculture practices like urban farming. This food revolution transformed Cuba's food system and has made the country a leader in sustainable agriculture.
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Original Essays. Essay examples for scholarships 妙義龍倶楽部Liz Milligan
This document discusses the challenges of writing an original essay on the topic of "Original Essays." It notes that while the topic invites creative freedom, producing something truly original can be daunting due to the pressure to avoid cliches and break conventions. True originality requires a deep understanding of existing ideas and narratives as well as ensuring the essay remains coherent and accessible to readers. The search for originality can also induce a sense of isolation. However, struggling with these challenges demonstrates a writer's commitment to intellectual exploration and questioning norms in the pursuit of novelty. Overall, writing on this topic demands both courage and creativity to balance innovation with coherence.
Near Future Design class at Isia Design: Transmedia narratives Salvatore Iaconesi
The document discusses concepts related to transmedia storytelling including:
- Transmedia storytelling involves distributing elements of a fiction across multiple media platforms to create a unified entertainment experience. Each medium makes its own contribution to unfolding the story.
- Examples of transmedia stories include The Matrix franchise, the Human Preservation Project, Year Zero, and This Man.
- Characteristics of transmedia include spreadability, drillability, continuity, multiplicity, world building, negative capabilities, migratory cues, seriality, subjectivity, performance, and acting as cultural attractors and activators.
1) The document discusses the rise of transmedia storytelling, where stories are told across multiple media platforms like books, movies, games and social media.
2) It provides examples of brands like Coca-Cola and LEGO that have used transmedia storytelling in their marketing by developing immersive fictional worlds across different media.
3) The author proposes a transmedia storytelling project called "Shanghai Fusion" that would allow brands to organically become characters in an urban fantasy story told across multiple platforms and formats.
Reading on the Holodeck: Ray Bradbury, Ivan Sutherland, and the Future of Books. An exploration of the consequences of immersive media environments on IP policy, libraries, and creative arts.
Leonardo DiCaprio Super Bowl: Hollywood Meets America’s Favorite Gamegreendigital
Introduction
Leonardo DiCaprio is synonymous with Hollywood stardom and acclaimed performances. has a unique connection with one of America's most beloved sports events—the Super Bowl. The "Leonardo DiCaprio Super Bowl" phenomenon combines the worlds of cinema and sports. drawing attention from fans of both domains. This article delves into the multifaceted relationship between DiCaprio and the Super Bowl. exploring his appearances at the event, His involvement in Super Bowl advertisements. and his cultural impact that bridges the gap between these two massive entertainment industries.
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Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
Rise to Stardom
DiCaprio's career skyrocketed with his performance in "What's Eating Gilbert Grape" (1993). earning him his first Academy Award nomination. He continued to gain acclaim with roles in "Romeo + Juliet" (1996) and "Titanic" (1997). the latter of which cemented his status as a global superstar. Over the years, DiCaprio has showcased his versatility in films like "The Aviator" (2004). "Start" (2010), and "The Revenant" (2015), for which he finally won an Academy Award for Best Actor.
Environmental Activism
Beyond his film career, DiCaprio is also renowned for his environmental activism. He established the Leonardo DiCaprio Foundation in 1998, focusing on global conservation efforts. His commitment to ecological issues often intersects with his public appearances. including those related to the Super Bowl.
The Super Bowl: An American Institution
History and Significance
The Super Bowl is the National Football League (NFL) championship game. is one of the most-watched sporting events in the world. First played in 1967, the Super Bowl has evolved into a cultural phenomenon. featuring high-profile halftime shows, memorable advertisements, and significant media coverage. The event attracts a diverse audience, from avid sports fans to casual viewers. making it a prime platform for celebrities to appear.
Entertainment and Advertisements
The Super Bowl is not only about football but also about entertainment. The halftime show features performances by some of the biggest names in the music industry. while the commercials are often as anticipated as the game itself. Companies invest millions in Super Bowl ads. creating iconic and sometimes controversial commercials that capture public attention.
Leonardo DiCaprio's Super Bowl Appearances
A Celebrity Among the Fans
Leonardo DiCaprio's presence at the Super Bowl has noted several times. As a high-profile celebrity. DiCaprio attracts
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The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
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Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
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At 28, Brianna Coppage left her teaching career to become an OnlyFans content creator. This bold move into digital entrepreneurship allowed her to harness her creativity and build a new identity. Brianna's experience highlights the intersection of technology and personal branding in today's economy.
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The Future of Independent Filmmaking Trends and Job OpportunitiesLetsFAME
The landscape of independent filmmaking is evolving at an unprecedented pace. Technological advancements, changing consumer preferences, and new distribution models are reshaping the industry, creating new opportunities and challenges for filmmakers and film industry jobs. This article explores the future of independent filmmaking, highlighting key trends and emerging job opportunities.
6. Transmedia Storytelling “ A transmedia story unfolds across multiple media platforms, with each new element making a distinctive and valuable contribution to the whole. Ideally, each medium makes it own unique contribution to the unfolding of the story. ” Henry Jenkins in “Convergence Culture” (2006 )
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11. Contemporary transmedia storytellers like the Wachowski Brothers* or Joss Whedon** are telling stories that were designed from the start as cross-media narratives, and are deliberately taking advantage of the strengths of each media type to enrich each project. *The Matrix, V for Vendetta **X-Men, Buffy the Vampire Slayer, Toy Story, The Office
14. “ When I first started, you would pitch a story because without a a good story you didn’t really have a film. Later, once sequels started to take-off, you pitched a character because a good character could support multiple stories. And now, you pitch a world because a world can support multiple characters and multiple stories across multiple media.” Hollywood scriptwriter cited by Jenkins in “Convergence Culture” (2006 p.114)
18. They want to go deeper, find new possibilities, insights and experiences within stories From Spectator to Participator culture
19. People have become so comfortable with media technology that they seem to flow from one platform to the next. The problem is that their content is not flowing with them. As a discipline, Transmedia provides a foundation for the development, production and rollout of entertainment properties or consumer brands across all of these platforms. Transmedia creates the flow. As a mass audience we’re too savvy and too impatient to experience the same content over and over again. There’s too much out there to enjoy…
20. Transmedia planning (online) IMAGE WORD ANYTIME REALTIME Time format Media format Your Story SOCIAL NETWORK PROFILE SOCIAL NETWORK GROUPS LIVE CHAT LIFESTREAMS VIRTUAL WORLDS GAMING LIVE STREAMING WIKIS VIDEO SHARING SITES FICTIONAL WEBSITES PHOTO SHARING SITES FORUMS Story played-out in games Role playing the story in real time Live event streaming / character interaction Threaded discussion Story delivered in real time through character interaction Collaborative story editing Groups around stories Characters made real on social networks Photos linked to the story Back story fictional websites Episodic character back story
26. By creating a world, with different stories happening in different media, it’s inevitable that not everyone will have the same experience. Is it a love story? (Keanu Reeves said so) Is it “a titanic struggle between intuition and controlling intellect”? (Hugo Weaving, aka Agent Smith) Is it a story about believing in something or not believing in something? Is it a story about secret societies keeping society under control? Is it a story about men’s history or men’s future? Is it just an enhanced Kung Fu movie? The Matrix
27. Good Not so good Possibility to link personal media behaviour into the story Endless possibilities to get conversation about the story going Community building Possibility to alienate non-hardcore audiences Restricted experience by digital divide Different Levels of Experience
29. “ If you give people enough stuff to explore, they will explore. Not everyone but some of them will. The people who do explore and take advantage of the whole world will forever be your fans, will give you an energy you can’t buy through marketing ” Ed Sanchez, Blair Witch Project
31. SLICE "Oh I've been a bad girl, a very bad girl..." Lisa (Slice to her friends) has moved to London with her parents to separate her from 'bad influences'. Coming from the US, Slice is immediately intrigued by the creepy old house they move into. But are her suspicions that the house is haunted well-founded, or is it her teenage over-imagination at work? Over four days, starting on Tuesday 25th March and ending on Friday, you could follow Slice's story on her own weblog and her parents. If you wanted to get even more immersed, you couldalso email the characters and follow them through text messages on Twitter.
34. The Amanda Project is the story of Amanda Valentino, told through an interactive website and book series for readers aged 13 & up. On the website, readers are invited to become a part of the story as they help the main characters search for Amanda
36. Audi A3: “Art of the H3ist” THE STORY revolved around Nisha Roberts and Ian Yarbrough, and their art retrieval business. The majority of the plot involved the attempts of Nisha, Ian, the players, and Nisha's video game designer friend, Virgil to stop the world's greatest art heist. Early in the game, a security camera recording was discovered which showed a shadowy villain stashing pieces of information inside 6 different Audi A3 cars. The cars, throughout the course of the game, were all tracked down, and infiltrated by the Retrievers, to get back the information hidden in them. By piecing together the whole of all data found in all cars, the full scope of the Big Art Heist was revealed.
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38. Taking participation to the next level Alternate Reality Games Author / Department 28/01/10 Page
48. THE CAKES Sent to locations (apparently bakeries). Once there, participants are to pick up a package left under the name "Robin Banks." The package is a cake with a phone number on it. By calling the number, a phone inside the cake will ring. After digging into the cake, the participant will find an evidence bag with a cell phone, Joker card, cell phone charger, and a note: “ Good work, clown! Keep this phone charged and with you at all times. Don't call me, I'll call you...eventually.”
"TRANSMEDIA NARRATIVES: FACT OR FICTION? We've been talking about this phrase for some time but what does it really mean (if anything)? 2010 is the year Transmedia hits the big time (according to The Times, see pic below) Whatever you choose to call it, Hollywood film studios, digital businesses and some forward-thinking agencies are extremely interested to see how different channels can be best combined to tell a compelling story in the age of participation. As stimulus, there will be a short presentation drawing on examples including The Matrix, Heroes, Buffy the Vampire Slayer, Audi A3, Penguin Books and more... Then we'll talk about how we can use this."
Transmedia - has gone into mainstream press, this from The Times (UK)
1. Transmedia storytelling represents 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. So, for example, in The Matrix franchise, key bits of information are conveyed through three live action films, a series of animated shorts, two collections of comic book stories, and several video games. There is no one single source or ur-text where one can turn to gain all of the information needed to comprehend the Matrix universe.
Examples of great world building
Examples of great world building
Coca Cola’s Happiness Factory
Contemporary transmedia storytellers like the Wachowski Brothers or Joss Whedon are telling stories that were designed from the start as cross-media narratives, and are deliberately taking advantage of the strengths of each media type to enrich each project. The Enter the Matrix video game, for example, wasn’t created just as a cheap grab for more money but as an actual chapter in the larger narrative of The Matrix, and the second and third Matrix films only truly made sense if you’d played the video game.
The matrix is a lot more than the film: short animations, games, comic books
The person that is really deep into the story will have a different experience than “Joe Popcorn”. The latter, however, may feel lost in middle of so much information
"Oh I've been a bad girl, a very bad girl..." Lisa (Slice to her friends) has moved to London with her parents to separate her from 'bad influences'. Coming from the US, Slice is immediately intrigued by the creepy old house they move into. But are her suspicions that the house is haunted well-founded, or is it her teenage over-imagination at work? Over four days, starting on Tuesday 25th March and ending on Friday, you can follow Slice's story on her own weblog and her parents. If you want to get even more immersed, you can also email the characters and follow them through text messages on Twitter.
The story The story revolved around Nisha Roberts and Ian Yarbrough, and their art retrieval business, Last Resort Retrieval. The majority of the plot involved the attempts of Nisha, Ian, the players, and Nisha's video game designer friend, Virgil in trying to stop the world's greatest art heist. Ian and Nisha, specifically, were hot on the tracks of a very coordinated theft team, which was led by a person who was initially identified only as Arclight. Arclight was organizing theft timetables, commissioning forged replicas, doing reconnaissance work, and hiring all manner of unruly assistants for the big heist. Virgil seemed to be the main suspect throughout much of the game, due to his odd behaviour and lousy attitude. Early in the game, a security camera recording was discovered which showed a shadowy villain stashing pieces of information inside 6 different Audi A3 cars. The cars, throughout the course of the game, were all tracked down, and infiltrated by the Retrievers, to get back the information hidden in them. By piecing together the whole of all data found in all cars, the full scope of the Big Art Heist was revealed.
The idea was basically to create Gotham in real-time from the end of Batman Begins right up until the beginning of The Dark Knight . A year and a half out you have the opportunity to explore the characters, the strong themes. Those were punctuated by activities that "eventize" the web, like Comic-Con , like the first image of the Joker revealed , or the ringing cakes or campaigning for Harvey Dent or the scavenger hunt to get to go see the third trailer.
At the San Diego Comic-Con, "Jokerized" $1 bills are found that lead to Whysoserious.com , a page advertising for jobs as Joker henchmen. The page includes coordinates to a location near the convention center and a countdown clock set to go off the next morning at 10am. July 27, 2007 - Hundreds gather at the time and place listed on Whysoserious.com . At 10am, a phone number is written in the sky, launching the game. Collaborating with friends online, the assembled crowd (now wearing Joker face paint) is sent on a scavenger hunt throughout the city. After solving all the clues, a fan was selected to be abducted and killed in place of the Joker. The participants at San Diego were given clown masks as a reward, while online players were rewarded with the first teaser trailer for The Dark Knight . July 30, 2007 - Whysoserious.com is shut down and replaced with Rent-a-clown.com , a clown rental company whose "employees" are the fans from Whysoserious.com . The page contains the message "made you look" hidden in its source code.