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SEEKING TRANSCENDENCE Demystifying Transmedia for Game Development Presented by RAPHAEL VAN LIEROP (HELM Studio) & ZAK KADISON (Blacklight Transmedia) Montreal, November 14 th , 2012

Seeking Transcendence: Demystifying Transmedia for Game Developers

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[PLEASE REFER TO THE SPEAKER'S NOTES IN THE SLIDES or TRANSCRIPT in the SLIDESHARE VIEWER!] How & why to take a Transmedia approach to creating and nurturing entertainment IP, with a specific focus on video games and film. Presentation given by Raphael van Lierop (HELM Studio) and Zak Kadison (Blacklight Transmedia) at the Montreal International Game Summit, November 2012. | For more information about Raphael: www.linkedin.com/in/rvanlierop | For more information about Zak: www.linkedin.com/in/zakkadison

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Page 1: 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

Page 2: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 3: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 4: Seeking Transcendence: Demystifying Transmedia for Game Developers

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!

Page 5: Seeking Transcendence: Demystifying Transmedia for Game Developers

A Love of Storytelling

Page 6: Seeking Transcendence: Demystifying Transmedia for Game Developers
Page 7: Seeking Transcendence: Demystifying Transmedia for Game Developers

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!

Page 8: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 9: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 10: Seeking Transcendence: Demystifying Transmedia for Game Developers

WHAT IS “IP”?

Page 11: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 12: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 13: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 14: Seeking Transcendence: Demystifying Transmedia for Game Developers

Sample IPs

Page 15: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 16: Seeking Transcendence: Demystifying Transmedia for Game Developers

WHAT IS TRANSMEDIA?

Page 17: Seeking Transcendence: Demystifying Transmedia for Game Developers

Henry Jenkins (MIT) says:

Page 18: Seeking Transcendence: Demystifying Transmedia for Game Developers

In other words, transmedia is about:

Storytelling

Reach

Participation

Promise

Non-Exploitation (Respect)

Page 19: Seeking Transcendence: Demystifying Transmedia for Game Developers

Early Transmedia

88 weekly issues, 1840- 1841

20 monthly issues, March

1836 – October 1837

Charles Dickens

Page 20: Seeking Transcendence: Demystifying Transmedia for Game Developers

Contemporary Examples

Page 21: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 22: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 23: Seeking Transcendence: Demystifying Transmedia for Game Developers

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…)

Page 24: Seeking Transcendence: Demystifying Transmedia for Game Developers

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…

Page 25: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 26: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 27: Seeking Transcendence: Demystifying Transmedia for Game Developers

SUPERFANS!

Page 28: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 29: Seeking Transcendence: Demystifying Transmedia for Game Developers

THE BIZ

Page 30: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.)

Page 31: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 32: Seeking Transcendence: Demystifying Transmedia for Game Developers

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?

Page 33: Seeking Transcendence: Demystifying Transmedia for Game Developers

MIS-ALIGNMENT

Page 34: Seeking Transcendence: Demystifying Transmedia for Game Developers

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!!

Page 35: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 36: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 37: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 38: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 39: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 40: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 41: Seeking Transcendence: Demystifying Transmedia for Game Developers

Blockbuster Movies

Game-Based Movies

Missed Opportunity:

$325mm

$353mm

REVIEW

$28mm

Page 42: Seeking Transcendence: Demystifying Transmedia for Game Developers

$73mm

$14mm

Licensed Games

Movie-Based Games

Missed Opportunity:

$59mm

REVIEW

Page 43: Seeking Transcendence: Demystifying Transmedia for Game Developers

REVIEW

$28mm

Blockbuster Movies

Game-Based Movies

$353mm

$73mm

$14mm

Not Day and Date

Day and Date

Page 44: Seeking Transcendence: Demystifying Transmedia for Game Developers

Question: Why?Answer: Quality!

62

29

84

58Blockbuster Movies

Licensed Games

Game-Based Movies

Movie-Based Games

REVIEW

Page 45: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 46: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 47: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 48: Seeking Transcendence: Demystifying Transmedia for Game Developers

“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

Page 49: Seeking Transcendence: Demystifying Transmedia for Game Developers

Talent: Blockbuster Games

• Blockbuster games are made by “AAA” developers

• Many of these companies are household names

Page 50: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 51: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 52: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 53: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 54: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 55: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 56: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 57: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 58: Seeking Transcendence: Demystifying Transmedia for Game Developers

Transmedia Production Studio

SOLUTION: Communication

Page 59: Seeking Transcendence: Demystifying Transmedia for Game Developers

ANATOMY OF AN IP DEAL

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Structuring an IP deal

Page 61: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 62: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 63: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 64: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 65: Seeking Transcendence: Demystifying Transmedia for Game Developers

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!!

Page 66: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 67: Seeking Transcendence: Demystifying Transmedia for Game Developers

Rule: Zombies React to Noise

Page 68: Seeking Transcendence: Demystifying Transmedia for Game Developers

Rule: The Force = Good/Evil

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Rule: Magic Exists

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

Page 71: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 72: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 73: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 74: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 75: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 76: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 77: Seeking Transcendence: Demystifying Transmedia for Game Developers

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

Page 78: Seeking Transcendence: Demystifying Transmedia for Game Developers

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”

Page 79: Seeking Transcendence: Demystifying Transmedia for Game Developers

Great Transmedia Resources

The Art of Immersion, by Frank Rose

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Convergence Culture, by Henry Jenkins

Page 81: Seeking Transcendence: Demystifying Transmedia for Game Developers

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.

Page 82: Seeking Transcendence: Demystifying Transmedia for Game Developers

Thank You!

Raphael van Lierop

Creative Director, HELM Studio

Email:[email protected]

Web:www.helm-studio.com

Twitter: @raphlife

LinkedIn:

www.linkedin.com/in/rvanlierop

Zak Kadison

CEO, Blacklight Transmedia

Email:

[email protected]

Web:

www.blacklighttransmedia.com

LinkedIn:

www.linkedin.com/in/zakkadison