Kreative.Asia, 2012: Get Noticed Workshop on how to construct a transmedia marketing narrative

1. April 6-8, 2012
Driving Engagement through
Transmedia Narrative
Presented by Esther Lim
esther.lim@gpj.com
@geekgrl
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2. Understanding the consumer landscape
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3. We live in an age of abundant media
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4. Access to more
internet enabled
mobile devices
Means we spend
more time
consuming
content online
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5. Average adult consumes more than
11 hours of media content per day
TV and Video:
4:34 hrs
Internet: 2:47
Radio 1:34
Mobile: 1:05
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6. 49% use mobile
phone while
46% use tablets watching TV
while watching
TV
We are always connected and constantly
consuming from any place at any time
Source: Nielsen Q1 Mobile Connected Devices 6

7. Today’s consumers are media multi-taskers
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8. What’s the
pattern
here?
‣Females are bigger
multi-taskers than males
‣18-34 year olds are the
pre-dominant multi-
tasking group
‣Women consume
content across more
devices than males
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9. Consumers
are:
Fragmented
Distracted
Impatient
Discerning
Demanding
Content must be:
Smarter
Relevant
Valuable
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10. Content used to be the scarcity.
Media availability used to be the scarcity.
Pages in a magazine used to be the scarcity.
Thirty-second commercial breaks used to be
the scarcity.
Now it’s attention that’s the scarcity, because
there are unlimited bits and there’s no end to
content.”
—Edward Boches, chief innovation officer at the Mullen ad
agency, in an interview with eMarketer, February 9, 2012
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11. Brands that meet consumers on multiple platforms—
with useful things to say in each venue—can engage its
audience more deeply than ever.
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12. What is Transmedia?
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13. It’s a way of
telling stories
across multiple
platforms that is
individually
distinct, yet
related to a
central story
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14. Transmedia stories are usually participatory
Participatory.
Not just watching
Recursive.
Multiple stories back into a
= core narrative and builds
communal intelligence
Scalable.
Grows into other forms or
properties to some extent

15. How does transmedia work logistically?
Story elements
are broken up and
delivered to
audiences across
multiple platforms
to enable the
content to be
“found” in different
ways
http://social-creature.com/page/3 6

16. Movie TV Series
Download Novel
Big Flash Mob
Knit-Along
Adventure/ Twitter
Video Games History of Main Story Future of
the the iPhone
Flickr Storyverse/ Storyverse Podcasts
Backstory
Blogs Story of
Music Minor DVDs
Facebook
Story Character/
Alt POV iPad/Tablet
True
Live Events
Stories Universe Fan Assets:
Websites
Social Games Video,
Myths Photos, MP3s
Concerts YouTube
User
Backstage/ Generated CDs
Comics Content/
Making of
Merchandis Fan Fiction Webisodes
e
Graphic Novels
Toys
Theater Documentary
Radio
Audiences can enter the storyworld through any
story platform
Jill Colick, Story2OH.com 7

17. Though separate, each story platform works
together to create a larger more complete
central narrative
Graphic Source: Robert Pratten, Getting Started in Transmedia Storytelling 2011

18. Each platform offers openings to new layers of
content for audiences to discover and explore
Discovery
Use of social mediums such as
twittter or YouTube Videos
Core story
Web site
Exploration
Additional and supporting
story content on blogs, micro-
sites, via music, TV or graphic
novels
Graphic Source: Robert Pratten, Getting Started in Transmedia Storytelling 2011

19. The goal of each story platform is to move the
central narrative forward
When a story is retold exactly the When different media are used to tell
same way across different platforms different parts of a larger story to
= Not transmedia forward the central narrative
= Transmedia
Graphic Source: Robert Pratten, Getting Started in Transmedia Storytelling 2011
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20. What makes transmedia different from
multimedia campaigns?
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21. Examples of Transmedia
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22. 22

23. Multi-platform cross-
overs of the Heroes
story:
• Toys
• Fan Fiction
• Alternate Reality Game
• Mobile
• Print
• Comics
• Games
• Web Content
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24. 24

25. 25

26. 26

27. 27

28. Examples of Transmedia in Marketing
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29. Cisco uses transmedia to engage remote
audiences during their GSX Event
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http://nomimes.com/work/cisco-threshold.html

30. Cisco uses transmedia to engage remote
audiences during their GSX Event
http://www.juxtinteractive.com/case-studies/2010/cisco-gsx/the-hunt/ 30

31. Sun Microsystems uses transmedia to
launch a product and foster trial
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http://nomimes.com/work/cisco-threshold.html

32. Audi uses Transmedia to drive consumer awareness/
test drives through entertaining experiences
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http://mckinney.com/work/clients/audi/art-of-the-h3ist

33. Nokia uses transmedia tied to a social cause for a
product launch and trial (Nokia and Conspiracy for
Good)
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http://www.conspiracyforgood.com/

34. Getting Started
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35. An audience-centric approach
and process
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36. Audience Definition begins with
Persona Development
‣Personas
guide
decisions
on
story
development,
story
world
experiences
and
community
strategy:
‣Organic
story
pla9orm
selec:on
‣Character
development/interac:ons
‣Audience
par:cipa:on
‣Story
extensions
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37. 37

38. 38

39. Define Your Goals
Objectives
Generate Drive Inspire Drive next
Build a gen
buzz and JavaFX JavaFX Community
interest downloads creation of Users developers to
JavaOne
Audience
Java Developer Web / 2.0 Developer Web Designer
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40. Define Specific Metrics where possible
! Attract, engage and sustain the interest of next gen
developers for 3 months +
! Use story and game play to drive attendees to JavaOne &
CommunityOne
! Build JavaFX product brand awareness, capture mindshare
! Drive actions (JavaFX downloads & usage) – Target 5000
downloads
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41. Define the Story
Introduction of Strange Creature Sightings (3 teasers)
• Sighting in the woods by hikers
• Sighting on a dark, empty road by construction worker
• Sighting by students on a beach
Story escalates towards a big reveal at event or CommunityOne
Introduction of Lead Characters and the PIE Network (3 Episodes)
• Baron and Hector start the PIE Network, recruit volunteers to help with investigations
• PIE headquarters are broken in to, Hector and Baron realize they are being “watched”
• Baron and Hector receive strange, threatening messages to stop the investigation
Investigations and Strange Encounters (2 Episodes)
• Baron and Hector continue to investigate unexplained phenomena and uncover more clues and evidence
about the JUMP including mysterious metal disks with an engraving
• Baron comes face-to-face with the creature in the sightings, capturing it on film
The Cartel Speaks Up and Baron Mysteriously Disappears (5 Episodes)
• Baron shares his investigation with the community and receives a strange visit from “The Wish” a
henchman of “The Cartel”, warning him to stop his activities
• Next day Baron disappears, Hector goes underground fearing for his life and a search for Baron begins
starting with a strange visit from a rogue agent of the Cartel
Baron is Rescued but the Friendship turns to Distrust (3 Episodes)
• Hector leads a group of PIE volunteers to rescue Baron but Baron seems different. Tension builds up
between the two dividing the PIE Network into polarized camps
• Hector receives a package that leads him to clues that suggest Baron can’t be trusted
The Big Reveal (5 Episodes)
• Hector confronts Baron with the latest evidence received. Baron claims the evidence is fabricated. Upon
closer inspection of the package, the two discover clues leading to the location of the JUMP where the truth
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will finally be revealed

42. Mapping the desired experiences to the
platforms
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43. Mapping the desired experiences to the
platforms
Transmedia planning (online)
IMAGE
FICTIONAL WEBSITES VIDEO SHARING SITES GAMING VIRTUAL WORLDS
Back story fictional Episodic character Story played-
Role playing the LIVE STREAMING
websites back story out in games
story in real time
Media format
PHOTO SHARING SITES Live event streaming /
character interaction
Photos linked Your
to the story
Story Story delivered in real
time through character
LIFESTREAMS
interaction
Collaborative
Characters made Groups around Threaded discussion
story editing
real on social stories
networks
SOCIAL NETWORK SOCIAL WIKIS FORUMS LIVE CHAT
PROFILE NETWORK
WORD
GROUPS
ANYTIME Time format REALTIME
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44. Define the Roll-Out/Interaction
Story /Game
Elements
Introduce Introduce Introduce Obtain more Story
Key Characters Mystery Challenges story elements Conclusion at Event
engagement
Process Iterates to
Player
Recruits players story conclusion
Players download Challenges
JFX SDK as app kit escalate in difficulty
Clues Challenges
(individual and group) as story unfolds
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45. Define the Roll Out Plan/Production
Schedule
! Final episodes of the story/game will lead players to the JavaOne event
! The story’s mystery should be revealed during JavaOne at a keynote
! Game assets are showcased for attendees to view, play with and judge
for awards
! Potential to extend game by introducing part 2 at JavaOne to appeal to
next gen designers
Months
Mar April May June July Aug Sept
SXSW C1 JavaOne
(2.0)
javaFX Viral Campaign Extend viral campaign to include next gen designers
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46. Orchestrate the story to the interaction touch points
Audience Audience
Personas interaction
drive touch points
interaction mapped by
design and story
story platform
platform
selection
Story
delivery
maps to
story
pacing
Story
platforms map Story
to audience timeline
platform
usage/
behaviors
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47. Without a coordinated effort,you get chaos
and frustrated audiences
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48. Social analytics should be a key tool in
your transmedia development tool kit
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49. Social metrics provides direction for adjusting
engagement and story delivery strategies real time
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50. When monitored weekly, creators can act
proactively instead of reactively around activities
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51. Thank You
For more information contact:
Esther Lim
Email: esther.lim@gpj.com
Follow me on Twitter: @geekgrl
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