Stories, games and origami unicorns remote engaging in our participatory world

George P. Johnson
Leadership Offsite
2011

Tuesday, April 2, 13

Stories, Games and Origami Unicorns:
remote engaging in our participatory
world

Kenny Lauer


http://www.flickr.com/photos/headtraumamovie/870988845 3

http://www.mikearauz.com/2009/03/thoughts-on-spreadable-media-parts-3.html 4

“If I tell my Facebook friends about your
brand, it’s not because I like your brand,


“If I tell my Facebook friends about your
brand, it’s not because I like your brand,
but rather because I like my friends.
– Mike Arauz


Relationships are Redeﬁned

6


Traditional 1:1 relationship

6


Traditional 1:1 relationship Traditional 1:1:M relationship

6

“The moment
we are
living through [right now]—
is the largest increase in
expressive capability in human history.”
– Clay Shirky, TED

Expressive To make known the opinions or feeling of
Capability Having power and ability
8

Remote Engagement

Defined
A Digital Experience interaction
that happens either:
1. outside the “4 walls” of the event
OR
2. within the “4-walls” but influences
or affects people outside the
“4-walls”

© David Armano darmano.typepad.com
12

Remote Engagement

Getting from “Me” to “Them” Defined
A Digital Experience interaction
that happens either:
1. outside the “4 walls” of the event
Them
OR
2. within the “4-walls” but influences
or affects people outside the
“4-walls”

Me Understanding Remote Engagement
Convergence and participatory culture
(e.g., gamification, transmedia storytelling)
© David Armano darmano.typepad.com
12

Egypt 2.0?

13

“I want to meet Mark Zuckerberg one day and thank him...
I'm talking on behalf of Egypt. ...

This revolution started online.
This revolution started on Facebook.
We would post a video on Facebook that would be shared by
60,000 people on their walls within a few hours. I've always said
that if you want to liberate a society just give them the Internet.”
– Wael Ghonim
18

+ 16504194196
+ 390662207294
+ 97316199855

20

Social Media is changing the world.

Level 4 Ripples
4 Distribution through individuals
(email lists, etc.)

3
Level 3 Ripples
Distribution through “closed” networks
(Facebook, MySpace, etc.)

Level 2 Ripples
2 Distribution through “open” networks
(blogs, sites, feeds, widgets, etc.)

1
Level 1 Ripples
Distribution through mainstream media outlets,
digital and analog (press, influencers, etc.)

22

The most important word on
the Internet is not “SEARCH”.

THE MOST IMPORTANT WORD
ON THE INTERNET IS “SHARE”.
– Hugh McLeod & Jyri Engstrom

23

Anywhere and everywhere
Social networking now connects 62 million US adults.
– Forrester

“There are more than 200 million active users [40 percent]
currently accessing Facebook through their mobile devices. People that use
Facebook on their mobile devices are twice as active on Facebook as non-mobile
users.”
– Facebook official statistics (January, 2011).

Twitter is now attracting 190 million visitors per month and generating 65 million
Tweets a day. Most users don’t Tweet at all, but rather use Twitter as a consumption
media.
– Twitter COO Dick Costolo, at the Conversational Media Summit

It gets 300,000 new users a day.
– Biz stone, Chirp
24

Over 6 million people are engaging
Fortune 500 brands through key social
media channels.

Source: “The Social Media Habits of the Fortune 500” study, iMediaWorks, 2Q, 2009 25

500 Billion Impressions

People in the US generate more than 500
billion online impressions on each other
regarding products and services — more than
one-fourth the number of impressions
advertisers make.

26

US Social Network Ad Revenues, 2009 –
Billions and % Change

Source: eMarketer, January 2011
27

US Social Network Ad Revenues, 2009 –
Billions and % Change

$3.93
(27.7%)
$3.08
Why are US marketers (55.0%)

spending 55% more $1.99
$1.43 (39.0%)
than last year ($3.08B) (20.3%)
to advertise on social
networking sites this year,
as predicted by eMarketer?
2009 2010 2011 2012

That’s where consumers are influenced.

Source: eMarketer, January 2011
27

Technology
is
changing
our lives
Convergence culture
is a world where
every story, image,
sound, idea, brand,
and relationship
will play itself out
across all possible
media platforms.
– Henry Jenkins

28

Participatory Culture: The Prosumer

29

Technical Portal vs. Phenomenon

30

Dino Ignacio Bert

32

Mashup and Remix

34

Era Mashups

35

Participatory Culture: Social Skills and
Competencies

37

Transmedia Storytelling: What is it?

http://social-creature.com/page/3 38

Transmedia Storytelling: What is it?
• According to Henry Jenkins: 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.”

• According to Kenny Lauer: Enable
the audience to experience the story
in a lot of different ways through a lot
of different ways.

http://social-creature.com/page/3 38

Harry Potter
movies, video games and other elements
are all retellings of the books that JK
Rowling wrote
= Not transmedia

39

Harry Potter
movies, video games and other elements
are all retellings of the books that JK
Rowling wrote
= Not transmedia

Julia Child
autobiography, My Life in France
+ Julie Powell’s blog The Julie/Julia Project
+ Nora Efron’s movie, Julie and Julia
= Transmedia

39

Elements of Transmedia Storytelling

• Participatory.
Not just watching.
• Recursive.
Ties back into the core narrative(s) and builds
intelligence.
• Scalable.
Grows into other forms or properties to some extent.

40

Linear, Control, Push
Story Produce Watch

41

Story Produce Watch

Non-linear, Participatory, Push/Pull

41

Story Produce Watch

Franchise Transmedia
Multiple platforms create a collection of individual experiences

Comic Book Sequel

Story
Computer
Webisode
Game

Website

41

Story Produce Watch

Franchise Transmedia Portmanteau Transmedia
Multiple platforms create a collection of individual experiences Multiple platforms contribute to a single experience

Comic Book Sequel
Twitter
Audio Video

Story SMS
Blog Flyer
Computer
Webisode
Game
Image Email
Event
Website

41

Transmedia Storytelling

42

Transmedia Storytelling
Movie TV Series
Download Novel

Flash Mob
Knit-Along Big
Adventure/
Twitter
Video Games Main Story
History of the Future of the iPhone
Flickr Storyverse/ Storyverse
Backstory Podcasts
Blogs
Story of
Music Minor DVDs
Facebook
Story Character/
Alt POV iPad/Tablet
Live Events True
Stories Universe Fan Assets: Websites
Social Games Video, Photos,
Myths MP3s
Concerts YouTube

User Generated
Backstage/ CDs
Comics Content/
Making of Fan Fiction
Webisodes
Merchandise
Graphic Novels
Toys
Theater Documentary
Radio
Jill Colick, Story2OH.com 42

Platforms relationship and time in a
transmedia experience

http://www.ﬂickr.com/photos/andresfox/5396499222/in/
photostream/ 43

Pre/ Past During / Present Post / Future

photostream/ 43

Pre/ Past During / Present Post / Future

Video game

Comic ARG
Migratory cue

Initial platform
(movie, website, book)

Fandom production
photostream/ 43

Transmedia Rising
-JWT
52

Participatory Culture: Social Skills and
Competencies

53

Gamiﬁcation

• Applying the basic elements that
make games fun and engaging to
things that typically aren't
considered a game
• Fun
• Rewards
• Social connections

54

It’s not new

55

Gartner Hype Cycle

56

Gartner Hype Cycle
Peak of Inflated Expectations

Plateau of Productivity

Slope of Enlightenment

Trough of Disillusionment

Technology Trigger

56

A report published in
January by M2
Research, a media
and entertainment
research firm,
estimated that
spending on
gamification projects
will grow to as much
as $2.8 billion by
2016 from $100
million this year.

57

Gamiﬁcation 101

58

Gamiﬁcation 101

Game

58

Gamiﬁcation 101

Consumes
Game

Player

58

Gamiﬁcation 101

Creates Consumes
Game

Designer Player

58

Gamiﬁcation 101

Creates Consumes
Game

Designer Player

59

Gamiﬁcation 101

Creates Consumes
Game

Designer Player

Journey Rules System Fun

59

Gamiﬁcation 101

Creates Consumes
Game

Designer Player

Player

60

Gamiﬁcation 101

Creates Consumes
Game

Designer Player

Player

Player
Journey Mechanics Dynamics Aesthetics

60

Good games balance Skill and Challenge

61

Good games balance Skill and Challenge
High Anxiety
“Flow”

Challenge

Apathy Boredom

Low
Low High
Skills
61

Player Journey = Lifecycle + Progression

Player Journey = Lifecycle + Progression

Good games take the player on a journey towards mastery

62

Gamiﬁcation 101

Player

63

Gamiﬁcation 101

Control: Game designer Control: Player
Formal rules and How people behave due
structure of game to these rules
• Game prepared • Processes and behaviors Way it feels to play
• What action can that arise when you the game
players take actually play the game • Overall experience
• Victory conditions • Rules in response to
• Emotional
• Rule enforcement actions
engagement
• Time Based systems • Make Progress Visible
• Curiosity,
• Reward schedules • Points, levels,
satisfaction, delight,
• Progressive Unlocks leaderboard, badges,
trust, fun, pride,
missions
• Pacing envy

Player

63

Gamiﬁcation 101: Monopoly

Player

64

Gamiﬁcation 101: Monopoly

Control: Player
• At the beginning of
Control: Game designer the game,
everybody starts • Feeling of tension
• Everything you need equal and joy in the
to play beginning
• One player
• Relationship between inevitably gets rich, • Gradual loss of
the board, the pieces, while the other interest for the
and the money players are driven losing players
• Rules specifying how to poverty lose the • The joy of winning
you play game for the winner

Player

64

Mechanics Dynamics Aesthetics

65

Who am I playing with? How are we
engaging?
Help Players Acting Comment
Challenge
Taunt
Share Show-off
World
Socializers
Express
Compare Achievers
Interacting
Compete Explorers
Like View

Mechanics Dynamics Aesthetics

65

And we’re back...to Events

• Integrate Remote Engagement as a discipline: consume/engage

• Participatory Culture: remember your attendees want to participate.
Participation is not an option, it’s a requirement. How does that differ in
physical and virtual? How do we create opportunities to support this
culture.

• Extend outside the 4 walls. What happens online shouldn’t end online.
What happens offline, shouldn’t end offline

• Take advantage of what technology has to offer

66

We are all experience designers

67


‣ Games are worthless
‣ Stories are worthless
‣ Events are worthless

67


‣ Games are worthless unless people play them
‣ Stories are worthless

67


‣ Stories are worthless unless people listen to them

67


‣ Events are worthless unless people go to them

67


‣ Events are worthless unless people go to them

• Consumers don’t come for the game/story/event.

67

They come for the experience.
Kenny Lauer
@kennyL
68

Stories, games and origami unicorns remote engaging in our participatory world

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Stories, games and origami unicorns remote engaging in our participatory world