Seeking Transcendence: Demystifying Transmedia for Game Developers

SEEKING TRANSCENDENCE

Demystifying Transmedia for Game Development

Presented by

RAPHAEL VAN LIEROP (HELM Studio) & ZAK KADISON (Blacklight Transmedia)

Montreal, November 14th, 2012

Legal Notice

All text content © 2012 Raphael van Lierop and Zak Kadison, unless otherwise credited.

All images are the property of their respective rights holders.

We encourage readers to share and distribute these slides. However, we ask that any re-publication of the slide content be attributed.

A Recounting of Events in Order

Introductions

What is IP?

What is Transmedia?

The Biz

Mis-alignment

Anatomy of an IP Deal

Bite-Sized Best Practices for Transmedia IP Development

Questions

Introductions

Raphael van LieropGame Director

– Relic– Radar– Ubisoft Montreal– Relic– HELM– Unannounced

Zak Kadison Film Producer

– Jerry Bruckheimer Films– Spyglass Entertainment– Gold Circle– Fox Atomic– Blacklight

We are storytellers and IP creators!

A Love of Storytelling

Why should you care about storytelling?

A fundamental human imperative– Joseph Campbell

Healthy!– Community, Mental Faculties, Spirit

Interpreting them is an ingrained capability– 6B+ install base!

Games are a unique offering– Ask not what story can do for games, but what games can

do for story!

Digital storytelling

Modern technology allows us to tell & share stories much more efficiently than ever before.– Computers & desktop publishing– On-demand printing– Free distribution (Web)– Social media– Virtual participatory media

This is fundamentally changing the way we tell stories.

Why should you care about Transmedia?

Transmedia is the form of storytelling native to our epoch.

It’s the evolution of where storytelling is going.

Games have the potential to be at the heart of all transmedia, due to their unique participatory qualities and highly engaged audiences.

WHAT IS “IP”?

IP = Creative DNA

The conceptual framework that defines the creative constraints of something that is created.

A set of building blocks that contains all the potential of your creative & what it can become.

IP Creation is Architectural

Allows for individual creativity within defined conventions.

A process of Ideation, Validation, and Execution.

An iterative “construction” project vs. purely hypothetical intellectual exercise.

IP Creation is Archaeological

Identifying anchor elements and extrapolating the whole from those parts.

Gradual “unearthing” of the IP’s heart and soul over time.

Constant challenge and validation of beliefs.

Must be flexible and change based on feedback/data.

Sample IPs

IP Creation is…

…a huge topic that encompasses many elements, and deserves its own talk…

BUT, generally it is about:

• Context• Storytelling• Audience Engagement• Community

WHAT IS TRANSMEDIA?

Henry Jenkins (MIT) says:

In other words, transmedia is about:

Storytelling

Reach

Participation

Promise

Non-Exploitation (Respect)

Early Transmedia

88 weekly issues, 1840- 1841

20 monthly issues, March

1836 – October 1837

Charles Dickens

Contemporary Examples

MarvelHuge fan base aware of characters & universe

After bankruptcy applied transmedia approach to launch new titles

Self contained yet complimentary stories– Hulk, Iron Man, Captain

America, & Thor– Led up to The Avengers

Star WarsFranchise has continued to grow and evolve for more than

30 years

Multiple inter-related storylines

Movies, TV shows, video games, books, toys, etc.- 6 Movies-130 Video Games- 358 Books

Huge cast of characters

Deep mythology which was revealed over time

Fan community highly engaged and very vocal

LOSTShow ran for 6 seasons, 121 episodes

Multiple inter-related storylines

Huge cast of characters

Deep mysteries to be “unlocked”

Online fan community highly engaged and “teased” by show creators

Fan support kept show running for years (…beyond its logical life, perhaps…)

Halo 4Halo 1 was a runaway success Bungie and MS didn’t fully anticipate

Brought people in to help flesh out IP

MS created 343 to manage and extend the IP

Halo 4 = Campaign + SPARTAN Ops (co-op) + Multiplayer + linear (live-action shorts)– Everything has story!!

Halo is a full-on multi-billion$ transmedia empire:

– Game– Short-film(s)– Web series (Forward Unto Dawn)– Novels (Fall of Reach integral to worldbuilding!)– Merchandising– Waypoint– Wiki…

Why should we care about Transmedia?

Transmedia is the “future” of how stories will be told and shared.

Games have special role in this as they are uniquely participatory.

Why Does Participation Matter to Us?

People want to be part of something (community)

People want to share

People want to create

Primary work -> offshoot -> fan-made

Becomes an IP ecosystem with a high degree of audience engagement

Becomes self-fulfilling• Ex. Fringe

SUPERFANS!

Why should Transmedia matter to game developers??

Creative

Games should be at the forefront of IP creation

Hamstrung when shoe-horned by the constraints of other media

Whole generation for whom video games are the primary entertainment form

Business

Historically, games have a single revenue source

Transmedia approach means a video game becomes an IP which can drive ancillary revenue and library value

THE BIZ

Games business crash course

Developers– Make the game

Publishers– Pay for the game, market & sell the game

License-holders (IP)– Bring an audience; own and protect it

IP (creative + audience) is the “real” value

Controlled by publisher and/or licensor

(Basically must self-fund to have significant control over your own created IP.)

Movie business crash courseProducers– Make the movie

Studios– Pay for the movie, market & distribute the film and handle the ancillary

rights

Studio / Financier owns copyright and controls movie and any ancillary not previously exploited

The overwhelming majority of revenue generated from a movie DOES NOT come from Box Office

To have significant control and upside you must bring money or real value to the table

Conundrum

The way the games business works, we are not well positioned to take our game-centric IP over to Hollywood

The way the movie business works, Hollywood IPs are not well positioned to result in successful games

Most attempts to do cross-over IP exploitation (game -> film or film -> game) have failed.

Why?

MIS-ALIGNMENT

All game revenue figures in this presentation are:

Domestic ONLY

Console ONLY (Do not include PC, handheld, or mobile platforms)

Retail ONLY (Do not include revenue from digital distribution, in-game advertising, downloadable content (DLC))

NOTE!!

The Licensing Business Model

Historically, entertainment companies would develop a hit movie…

…and then license the creation of a video game…

….or vice versa.

The result has consistently been low-quality products that fail to achieve their revenue potential.

65$317mm

84$741mm

82$533mm

50$309mm

35$402mm

61$319mm

79$318mm

58$234mm

70$205mm

63$171mm

62Avg.

Avg. Domestic Box

Office : $353mm

Blockbuster MoviesDomestic Revenue Potential

Blockbuster GamesDomestic Revenue Potential

93Avg.

Avg. Domestic

Retail:$228mm

93$159mm

94$614mm

94$403mm

96$69mm

85$370mm

98$347mm

91$165mm

96$60mm

94$50mm

88$47mm

43$66mm

30$47mm

31$41mm

33$40mm

35$40mm

34$28mm

17$9mm

15$5mm

18$2mm

38$.5mm

Blockbuster Movies

$353mm

62

Game-Based Movies

$28mm29

Movies based on GamesRevenue Performance

Blockbuster Games

$228mm

93

Movie-Based Games

$24mm

54

Games based on Movies, Day and DateRevenue Performance

60$17mm

61$27mm

52$61mm

42$33mm

55$6mm

55$27mm

53$20mm

65$15mm

42$9mm

IP-based Games, Not Day and DateRevenue Performance

77$77mm

82$58mm

92$82mm

55$6mm

53$20mm

65$15mm

Licensed Games

$73mm

84

Movie-BasedGames

$14mm

58Definition:

Movie-Based Games – Based on the same IP, but linked day & date to a movie launch

Definition:Licensed Games – Based on a licensed property but the game is not connected to a specific movie launch

Blockbuster Movies

Game-Based Movies

Missed Opportunity:

$325mm

$353mm

REVIEW

$28mm

$73mm

$14mm

Licensed Games

Movie-Based Games

Missed Opportunity:

$59mm

REVIEW

REVIEW

$28mm

Blockbuster Movies

Game-Based Movies

$353mm

$73mm

$14mm

Not Day and Date

Day and Date

Question: Why?Answer: Quality!

62

29

84

58Blockbuster Movies

Licensed Games

Game-Based Movies

Movie-Based Games

REVIEW

Quality Issues w/ the Current Model

Stories– Always an afterthought

Talent– Licensees don’t invest in best talent

Timelines– Film & game timelines out of sync

Communication– Very little cross-industry knowledge sharing– Little direct access to talent

How does Transmedia help?

Evolves existing licensing-based business model to better accommodate present market realities

Results in higher quality products in all media

Creates significant opportunities for revenue growth

Because the licensed incarnation is not part of the original creative plan one of two things tend

to happen:

The game and film have almost nothing to do with

each other

PROBLEM: Story & Narrative

The game tries to retell the story of the

film

“Transmedia Bibles” – Create Story Worlds and Universes in which many stories can be told.

Allow audiences to experience and interact with those worlds in ways that complement each other, across all media, including:

Film Games Television Books/Graphic Novels Social Networking

SOLUTION: Story & Narrative

Talent: Blockbuster Games

• Blockbuster games are made by “AAA” developers

• Many of these companies are household names

Z-Axis

• Licensees tend to contract lower-quality developers

• None of these developers would be considered “AAA”

• Many of these developers are no longer even in business

Talent: Licensed Games

James Cameron

Christopher Nolan

MichaelBay

MichaelBay

John Favreau

Steven Spielberg

Gore Verbinski

BrettRatner

Christopher Nolan

Stephen Sommers

Talent: Blockbuster Directors

• Blockbuster movies are made by the “best” film directors

• Most of these directors are household names

Talent: Licensed Film Directors

• Licensees tend to contract lower-quality directors

• Few of these directors would be considered “AAA”

Jan DeBont

ChristopheGans

JohnMoore

PaulAnderson

XavierGens

AndrzejBartkowiak

AndrzejBartkowiak

UweBoll

UweBoll

J.F.Lawton

Solutions to Talent Issue

Must see game and film as equally vital to success

Partner with top-tier talent and empower them creatively

Bring creative teams from respective disciplines together to collaborate

Problem: Incompatible Timelines

Game and film development cycles are very different.

– Games• Original games tend to take much longer• Unlike film, games cannot be “proven” using a foundational

“document” (i.e. script) that is relatively low-cost/low-risk• Progress is less predictable b/c of continuous tech iteration

– Film• Developed from script (“story-derived”)• Process, methodology, tools, skills much better established• Progress is more predictable• Success is not guaranteed

Pre-Prod. Production Finaling

Typical Original IP Game Timeline

6-12 Months 12-18 Months 4-6 Months

24-48+Months

Pre-Prod. Production Post

Typical Movie Timeline

2-12 Months 2-6 Months 6-12 Months

10-24+Months

Pre-Prod. Production Post

Movie-Based Game Timeline

2-3 Months 8-12 Months 2-3 Months

12-18Months

Comparative Timelines

TAKE-AWAY: Licensed movie-game production cycle much too short achieve

quality.

Solution: Lead With the Game!

Pre-Prod. Production Finaling

Typical Original IP Game Timeline

6-12 Months 12-18 Months 4-6 Months

24-48+Months

Pre-Prod. Production Post

Typical Movie Timeline

2-12 Months 2-6 Months 6-12 Months

10-24+Months

Dev.

Currently, the creatives on either side are separated by publishers and studios, creating a

dynamic that inhibits effective collaboration.

What we have here is a failure to communicate!

Broken Telephone

Transmedia Production Studio

SOLUTION: Communication

ANATOMY OF AN IP DEAL

Structuring an IP deal

BITE-SIZED “BEST PRACTICES”: PREPARING YOUR GAME IP FOR TRANSMEDIA

Raw Material

Same building blocks for every IP.

– Characters– Aesthetics– Tone– Worlds– Storylines– Themes– Etc.

FOR TRANSMEDIA: Some elements translate much better across media: storylines, characters, settings, factions, histories, etc.

Visual Direction

The aesthetics of your world.

The strongest, most immediate expression of an IP

Becomes a major part of the identity of your game, and IP

FOR TRANSMEDIA: Highly transferable to film which is also very much a visual medium, so focus on iconic elements that work in both media without watering either down

Iconic Character Design

Viewer’s strongest connection to the experience (game or film)

Highly visible, highly brandable

Adds massive value to the IP

FOR TRANSMEDIA: Highly transferable to film and other story-based media. Also, merchandising & cosplay

Setting

The reason for the world’s existence, your audience’s reason to be there

Informs the tone and mood of your IP

Lays the foundation for all other IP elements

FOR TRANSMEDIA: This sets the ground rules for the IP universe, which must be respected across all media!!

World Rules

Magic, Laws of Physics, Gravity, Politics, etc.

These rules put constraints on the world, add flavour, and can provide great gameplay opportunities.

Can be micro (local) or macro (global).

FOR TRANSMEDIA: You need these to create a backdrop for interesting action and conflict in your storytelling.

Rule: Zombies React to Noise

Rule: The Force = Good/Evil

Rule: Magic Exists

Rule: If You Die in the Matrix, You Die in the Real World

History & Backstory

Detailed histories add authenticity and continuity to the setting, and make the promise:

“There is more to discover here, if you only take the time…”

A rich world history and deep character backstories can provide nearly endless opportunities or future IP expansion.

– Ex. Mass Effect team did 1 yr of worldbuilding

History & Backstory (cont’d)

But you can also hint at this stuff and create a sense of mystery…

Remember the iceberg principle

FOR TRANSMEDIA: This is one of the best investments to make if you’re preparing your IP for transmedia exploitation.

Factions (=Conflict)

Clear faction relationships set the tone for great conflict that you can use for gameplay & storytelling.

FOR TRANSMEDIA: These become potential hooks for future IP and story.

Villains

These become the focal point of your drama. Heroes are only equal to the villains they overcome.

In games, villains make a great “carrot” to pull the player forward.

For games, often the best way to infuse character personality into your experience.

FOR TRANSMEDIA: Try to develop fully-fledged villains, not just fodder for boss fights.

Deep MythologyGreat IPs have a rich mythology that can support multiple storylines.

This means the same IP can be extended across multiple media.

It also means you have room for sequels and/or content expansion.

Especially important for long-running franchises.– 25 yrs. of Metal Gear

FOR TRANSMEDIA: This is one of the best investments to make if you’re preparing your IP for transmedia exploitation.

RECAP: What Makes an IP “Transmedia Friendly”?

Deep mythologies

Multiple primary characters that are highly fleshed out

Interesting secondary characters that can support their own stories

Multiple narrative threads

Clear aesthetics, flavour, and rules in the world

Factional conflict

What’s in an IP Bible?

A foundational document that documents the framework for your IP.

IP Bible includes:

– Logline– Frame story synopsis (ex. the Rebel Alliance, the Jedi, etc.)– Character bios (for primary and secondary)– Plotlines– Gameplay outline (tailored to game genre)– Aesthetic direction (concept art, mood boards, etc.)– Expansion strategy– Up to 100+ pages long

What’s in an IP pitch?

A presentation for a development or business partner that evangelizes the IP values and sells the potential.

Should have:

– Pitch Deck• Less than 30 slides

– Bible• Story synopsis/synopses• Character backstories• Concept art• Mood reel

– Transmedia Strategy– 1-pager– 10-page “look book”

Great Transmedia Resources

The Art of Immersion, by Frank Rose

Convergence Culture, by Henry Jenkins

Special Thanks

Special thanks to Ben Hoyt, creative consultant at Blacklight Transmedia, for gathering the sales and Metacritic data used in this presentation.

Special thanks to the MIGS advisory board for inviting us to speak at MIGS_2012.

Special thanks to everyone who attended our talk at MIGS_2012, and in particular to the many of you who contacted us afterwards to continue the dialogue about transmedia and games.

Thank You!

Raphael van Lierop

Creative Director, HELM Studio

Email:raphael@helm-studio.com

Web:www.helm-studio.com

Twitter: @raphlife

LinkedIn:

www.linkedin.com/in/rvanlierop

Zak Kadison

CEO, Blacklight Transmedia

Email:

zak@blacklighttransmedia.com

Web:

www.blacklighttransmedia.com

LinkedIn:

www.linkedin.com/in/zakkadison