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"In fiction, diegesis is that part of an entertainment which is obviously part of the narrative itself. In film and television, something is said to be diegetic when it is experienced by the characters." –Dr. Who's Tardis Datacore We no longer develop content strictly for a television series, a feature film, or a single interactive experience. Today, story content must be developed for multi-platform media systems consumed through a variety of experiences. Although at first glance this may seem to complicate the development process, through deeper exploration of the relationship between story and discourse, we can better understand the nature of transmedia narrative. This talk will explore methods for understanding the development of transmedia story content, how to present this content to clients, and how fluid structuralist thinking can help us create multiple narrative experiences of a focused, singular story-world. Check out the article on Matthew Thomas Maloney: "The future is all about the (transmedia) narrative"
Citation preview
Digital Diegesis {Multiplatform} story-world development.
{Multiplatform} Narrative
Defiance (2013)
Year Zero (2007)Homestar Runner (1996)
The Beast (2001)
Clockwork Watch (2001)
Star Wars (1977)
The Blair Witch Project (1999)
{Television Series}
{Television Series}
{Mobile Application}
{Console Game}
{Sequential Comic}
{Merchandise}
{Social Media Experience} {Website}
{Live User Experience}
{Web-based Secondary Episodic} {Feature Film}
{Fan-created Shorts}
{Themed Entertainment}
{Casual Games}
{Sponsorship Initiatives}
{Console Game}
{Mobile Application}
{Television Series}
{Sequential Comic}
{Merchandise}
{Social Media Experience} {Website}
{Live User Experience}
{Web-based Secondary Episodic} {Feature Film}
{Fan-created Shorts}
{Themed Entertainment}
{Casual Games}
{Sponsorship Initiatives}
{Fan-created Shorts}
{Mobile Application}
{Television Series}
{Sequential Comic}
{Merchandise}
{Social Media Experience} {Website}
{Live User Experience}
{Web-based Secondary Episodic} {Feature Film}
{Console Game}
{Themed Entertainment}
{Casual Games}
{Sponsorship Initiatives}
{Brand}
{Mobile Application}
{Television Series}
{Sequential Comic}
{Merchandise}
{Social Media Experience} {Website}
{Live User Experience}
{Web-based Secondary Episodic} {Feature Film}
{Console Game}
{Themed Entertainment}
{Casual Games}
{Sponsorship Initiatives}
{Fan-created Shorts}
{Diegesis}
{Mobile Application}
{Television Series}
{Sequential Comic}
{Merchandise}
{Social Media Experience} {Website}
{Live User Experience}
{Web-based Secondary Episodic} {Feature Film}
{Console Game}
{Themed Entertainment}
{Casual Games}
{Sponsorship Initiatives}
{Fan-created Shorts}
{Diegesis} : World of the Story or Storyworld.
{Extra-Diegesis} : World of the Storyteller and audience.
{Diegesis}
Formless
{Story} lives in the mind.
Narrative is {any} expression of diegetic content.
{Little Red Riding Hood}
What creates {SpongeBobness?}
Original source material does not matter.
{WWRD?}
{WWRD?}
Story-world.{ Characters, places, conflicts. }
{Diegesis}
Objective
Luke who?
{Case Study}
A character is on his way to a million dollar business deal that will save his home town and flicks a cigarette butt out of his car window.
{Case Study}
It lands on a group of tiny explorers, mortally wounding their captain. They are miles from their home.
{Case Study}
Galactus, meanwhile, prepares to devour the earth.
Allow the {narrative} to diversify.
Allow {narrative} to divide itself.
{Diegesis}
Linear
{Temporal Condensation}
Diegesis
2 Hour Film
Selected events arranged into discourse.
{Diegesis}
= Infinite
{Diegesis}
Open Source
“This is hard! There is often a tension between our need for creative control and the desire to create a feedback loop with the audience, or to allow them to be shared authors of a project.”
-Ingrid Kopp
{Let it go}
{Extra-Diegesis}
{Story Content}
{Episodics, films, games, UX, etc.}
{Fan-created work. Ekphrastic, Haptic work.} {Feedback}
Content arranged into narrative forms
Narrative forms interpreted by audience
{E
xtra
-Die
gesi
s}{
Die
gesi
s}
{Story Content}
{Episodics, films, games, UX, etc.}
{Fan-created work. Ekphrastic, Haptic work.} {Feedback}
{E
xtra
-Die
gesi
s}{
Die
gesi
s}
Content arranged into narrative forms
Narrative forms interpreted by audience
{Extra-Diegesis}
the Audience has an Audience.
The {web} is a massive live studio audience.And they can all heckle.
{Too shocking, too dangerous.}
{Extra-Diegesis}
Authorial Presence
{Creators become part of the meta-narrative.}
{Development}
• Brand.• Characters.• Places.• Conflicts.• A broad plan.• Visual examples.
{Development}
• Character Sheets.
{Character Sheets}
{Character Sheets}
{Whitebox}
{Discover Dynamics}
{Style Frames}
{Style Frames}
{Case Study}
{Case Study}
{Case Study}
{Takeaways}
• Content is perfect. A story cannot be good, bad, boring, engaging, long or short.
• Brand is narrative. It is not “story.” The story is in there somewhere, but it is formless.
• Narrative is in everything. It has nothing to do with orthodox ‘telling’ and nothing to do with time.
• Be like water.