PUBLIC MARKS with tags conceptual & delicious

ust as touchscreen smartphones have done in the past few years, tablets offer new opportunities in productivity, entertainment, social networking, healthcare, and a host of other domains. Tablets also give new life to existing media. Specifically, there has been an unexpected resurgence in the interactive book.

Comme l’a expliqué Hugues, si on compare avec le processus de création d’un long métrage, une des particularités des productions interactives est que la phase de « développement » en est plutôt une de pré-production. Dans le cas de Sacrée montagne, il ne se sera écoulé qu’un mois et demi entre la formation de l’équipe bicéphale et le début du chantier de création Web. Pour que le producteur puisse avoir en main une ébauche solide du projet à faire valider pour passer en phase de production, les créateurs Web doivent déjà entamer l’étape de programmation du projet. Alors que pour le long métrage le montage des éléments se fait en fin de parcours, en création interactive il commence dès la phase d’exploration. Les décisions scénaristiques doivent donc être prises et confirmées très tôt dans l’échéancier de production.

I like the suggestion of Jennifer Wilson of the Project Factory in Australia, who notes we should think of all the new digital platforms and tools as colors in your storytelling palette.

“To be great, multimedia has to make the story better than it would be in a legacy form,” Al Tompkins said.

Marie-Laure outlines a number different models for interactive storytelling. I have boiled it down to five models, which I think are a great starting point when you are planning your interactive project. This is how they look:

Unless you’re an anti-mac person, you would probably find few presentations that could beat Job’s Keynote. Whether you are from college or a major corporation, successfully acquiring Job’s techniques would grant you a great head start.

So why is this? What techniques do makers of user created transmedia (you and I wearing our normal, connected people hats) employ that make it more interesting to their target audience and what can the ‘artificial storytellers’ learn?

the distinction between the synchronic and diachronic stories. The synchronic story - what happens in the game, the “story” made by the player - is “purely kinetic”, while the diachronic story - the background story, often a “proper” story - is “immutable”. Somewhere in-between are the FMV cut-scenes, which develop both the synchronic and diachronic stories, but are also immutable. Thus, any real progress in plot is always divorced from any interactive challenge. Decisions made during challenges based on timing, sequences of actions, or spatial navigation/arrangements, are not the decisions that can change the course of a story, influence relationships, or reveal something about human nature.

Sofftware as a service's acronym "SaaS" was first used in an article called "Strategic Backgrounder: Software as a Service." It was published in February 2001 by the Software & Information Industry's (SIIA) eBusiness Division. The 18 page document is one of the most complete essays pertaining to SaaS available today. SIIA developed the backgrounder to analyze the current state of the SaaS market and its near term prospects, and to provide insight for its members who may be profoundly impacted by changes implied in the SaaS mode. Software as a service is essentially an extension of the idea of the Application Service Provider (ASP) model.[3]

et si, pour aller plus loin, le web-journaliste utilisait le jeu vidéo comme un nouvel outil ? Ces dernières années, on a assisté au développement tous azimuts des serious games, des jeux vidéo dotés d'une "intention sérieuse" : pédagogie, formation, recrutement, marketing… Et pourquoi pas information ?

Since DocAgora’s launch in November, 2006 at IDFA, we've been talking about the profound changes transforming the creation and distribution of classic theatrical, educational and broadcast documentary. We are also showcasing and celebrating trans-platform digital documentary in all of its incarnations : cyberdocs, netcasting, interactive docs. We have produced sessions on cross-platform documentary media, like the Confergence Lab in Aril, 2008, and have also taken on made-for-mobile docs, real-life docugames, and animated documations.

they went looking for the best way to deliver a mix of craptastic tidings ("Sorry, dude, someone at the Genius Bar totally sat on your iPad") and happy information ("It was Megan Fox, and she wants to say she's sorry"). Using online gambling games with varying amounts of losses or gains, the researchers asked participants which scenarios they preferred.

Stratégies de développement des médias digitaux #slideshow - web data apps (ludique, informative, riches)

Un projet de mise en oeuvre d’un progiciel de Gestion des Processus Métier (BPM – Workflow) fait appel à beaucoup de rigueur et de méthode comme tout projet informatique, il se doit aussi d’éviter quelques erreurs qui peuvent le faire basculer du mode « succès » au mode « échec cuisant ». Parmi ces erreurs, et au fil du temps et des projets que j’ai pu suivre, j’ai relevé quelques points récurrents que je vous soumets ci-dessous.

Put it all together. Then start over!

Transmedia storytelling, often referred to as crossmedia or multiplatform storytelling takes the elements of a character’s narrative and applies them uniquely to each medium while extending the story.

a spiderweb transmedia experience...

A storyboard helps you: * Define the parameters of a story within available resources and time * Organize and focus a story * Figure out what medium to use for each part of the story

Ben Elowitz (@elowitz) is co-founder and CEO of Wetpaint, a platform for social web sites, and author of the Digital Quarters blog. Prior to Wetpaint, Elowitz co-founded Blue Nile, the online retailer of luxury goods. He is also an angel investor in various media and e-commerce companies.

Jeff Gomez (head dude at Starlight Runner Entertainment, and general good guy) gives yet another informative presentation on the real world (business) models in today's transmedia. (If you like this, you might want to read the interview we did with Jeff: 'The Transmedia Equation, Part 1: Top-Down Development with Jeff Gomez').

Stories have most likely been part of the human experience from the earliest days of language, but until recently the storytelling medium has been largely static. Barring different versions of the same story, any given tale unfolds the same way every time one reads it.

At BarCamp Brighton last weekend, Alternate Reality Game developer Adrian Hon held a session on games and stories. His company's storytelling experiment, We Tell Stories, in association with Penguin, kicked off yesterday, and thus his talk was a timely retrospective on the relationship between narrative and interaction.

To achieve emotional movement, McKee proposes five stages for designing the "spine" of a story: 1) inciting incident, 2) progressive complications, 3) crisis, 4) climax, and 5) resolution.