building storyworlds - lecture from 9.26.12 class
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New Media Producing Building Storyworlds: the art, craft & biz of storytelling in 21cClass 3 9.26.12
Columbia University - Fall 2012Taught by Lance Weiler Visit www.buildingstoryworlds.comReleased under a Non-Commercial ShareAlike Creative Commons License
1. What is the story about?2. What does the story mean to you?3. Why does the story need to be told?4. Where is the story best told?
@lanceweiler www.lanceweiler.comChart by Robert Pratten
Like a bullet hole in glass start with your core idea and let it ripple out. Leave room for the audience to test & break it.
5 WHYS Why should I pay attention?
Why should I care?
Why should I share?
Why should I take the time?
Why should I return?
Consider who you’re hoping to reach. Attempt to step into their shoes.
Establish design filters that you return to throughout the development, production and distribution process.
What gives your storyworld
How can the stories you tell be more than entertainment? Can they help people discover things, learn, or connect with others? Value is what brings people back and fuels the spreadibility .
What is it that makes someone
What gets someone
Don’t forget to make it
SOCIAL & PARTICIPATORY
At the core it should be
An idea evolves & gains power with openness.
A storyworld evolves & spreads whenpeople feel connected.
Leave room in your design for
Emergent Narrative &Collaboration can be messy.
Much of the design makes use of collaborative layering. It helps provide guidance, improves qualityof creative submissions and gives participants a sense of accomplishment.
The STORY LAYER
It is now possible to lay a story overtop of the real world.http://www.filmmakermagazine.com/news/2012/01/listen-as-your-story-talks-to-the-internet/
Social Connected Personalized Pervasive
The Story Layer enables stories to become
Start by considering behavior.
Want to build immersive storytelling experiences?
How do animals search for food?
How do humans search for information?
Information foraging theoryis based on the analogy of an animal deciding what to eat, where it can be found, the best way to obtain it and how much “energy” the meal will provide.
Applying Foraging Theory to how human’s search improves discovery and the usability of various user interfaces.
“Information Theory” by Peter Pirolli & Stuart Card 1999
People following a path are constantly asking themselves 2 questions.
1. What can I expect to gain following this path?
2. What is the likely cost to reach my destination?
Chart by XCKD
Storyworlds can have linear and horizontal timelines.
Storyworlds have character and user journeys.
Don't hold tight to your characters. When constructing a storyworld the themes that drive the story are often stronger. #sw21c
From “Building Storyworlds the art, craft & biz of storytelling in 21c”http://buildingstoryworlds.com/book
Example of a series bible for Battlestar Galactica by Ronald D. Moorehttp://leethomson.myzen.co.uk/Battlestar_Galactica/Battlestar_Galactica_Series_Bible.pdf
WHAT’S IN A STORYWORLD BIBLE
GAME-Game Types RPG, Social Games, Puzzle based, ARG, Narrative based-Collaborative / Competive -Reward / Conflicts-Win / Loose Conditions-Continuous Play?-Live or Scripted Characters-What will players do?-Why is that fun?-Replayability
CHARACTER -Motivations -Arcs-Backstory-Relationships -Notes-Dialogue -Experiences
CHARTING-Script Annotation-Flow Docs-Mindmaps-Points of Entry @lanceweiler www.lanceweiler.com
Materials from the storyworld of Hope is Missing (HiM)
Elements of a storyworld use common building blocks
The following example from Hope is Missing builds from these core elements.
During a closed beta we tested elements of the Hope is Missing (HiM) storyworld.
Find other survivors, scavenge for supplies and find shelter before night fall.
Participants step into the shoes of the protagonist by using a special mobile app.
Entry gameplay by dropping into an infected area.
Participants create their own spaces and shelters using the camera on their mobile deviceShoot in a 360 and we stitched it together on the backend to form a panoramic image.
Players navigate by moving the phone or swiping with a finger. Augmented elements lead to key story assets such as video, audio, text and a red “X” lead to another user created space.
Snap shot of the usage of the app over a limited period of time. Each marker represents a new user crated space
Over 50,000 downloads
2000+ spaces created
- GPS data
- Make and model of handset
- OS of the handset
- Email address
- Phone number
- Amount of usage
MEDIA SOCIAL GRAPH
@lanceweiler www.lanceweiler.comChart by Mike Dicks @ BleedinEdge
MEDIA DIETWired Magazine
Consider consumption habits and entry points.
STORYWORLD1. Take time to evaluate the story you want to tell. 2. Ask yourself the hard questions – why will anyone care? Is this the best way to tell the story?
3. Let go of a single POV.
4. Consider how you can show not tell.
5. Make it easy for your audience to become collaborators.
6. Don’t let the world get in the way of the stor.y
6 TIPS FOR BUILDING A
Treating Story as Softwarehttp://www.slideshare.net/lanceweiler/storyas-software-weiler
The Art of Immersionhttp://www.slideshare.net/lanceweiler/buo
“Learn Do Share” – storytelling, collaboration and social innovation in 21chttp://learndoshare.net
Building Storyworlds: the art, craft & biz of storytelling in 21chttp://buildingstoryworlds.com/book