Month: April 2010 (Page 2 of 2)

Valemont Wins Streamy Awards for Best Interactive, Mobile Experiences

April 8, 2010 / Michael Andersen

streamyaward

Image courtesy of Nina Bargiel

Yesterday, the Streamy Awards kicked off its Streamy Craft Awards Ceremony, recognizing excellence in original web television programming. While the Streamy Awards Ceremony will take place on April 11 at the Orpheum Theatre in Los Angeles, tonight’s ceremony at the Barnsdall Gallery Theatre recognized innovation in the craft of digital production in particular.

Among the night’s winners were a few series that utilized alternate reality games as part of their storytelling. MTV’s Valemont took home the awards for Best Interactive Experience in a Web Series and Best Mobile Experience in a Web Series. The series was produced by Gemini Division veterans Electric Farm Entertainment, and consisted of a series of two and a half minute episodes broadcast on MTV.com and through Verizon Wireless’ V Cast service.

Nina Bargiel was tapped to create the alternate reality game for the series that allowed players to enroll at Valemont University, interact with characters across various social media, and participate in the show’s ongoing murder investigation. Since the episodes were so short, the alternate reality game became an integral element in the story’s development. Indeed, after the game’s conclusion, Valemont released two alternate endings for the series. Electric Farm EntertainmentÂ is set to produce a Valemont spin-offÂ TV movie and five half-hour episodes that could be slated into a full series in the future. Winning two Streamy Awards may help push these plans forward for the web series and alternate reality game.

Riese will also be returning from the Streamys with an award, after picking up Best Cinematography in a Web Series. The show promoted its release with an alternate reality game that brought the series’ distinctive steampunk flair to life. Riese, like Valemont, has partnered with Fireworks International to manage the show’s transition from web to television.

Click Here to visit Valemont Commons, the fan community for Valemont.

Producers Guild of America Adds Transmedia Producer Credit

April 7, 2010 / Michael Andersen

PGA Yesterday, Deadline Hollywood broke the news that the Producers Guild of America would be adding “Transmedia Producer” to the PGA’s Producer Code of Credits. This Code of Credits is used to ensure production credits are accurate and precise, and to resolve credit disputes. According to Nikki Finke, this unprecedented decision marks the first time theÂ PGA has ratified a new credit in the guild’s history.

According to the new Transmedia Producer Credit Guidelines, a Transmedia Narrative project or franchise:

must consist ofÂ three (or more) narrative storylines existing within the same fictional universeÂ Â on any of the following platforms:Â Film, Television, Short Film, Broadband, Publishing, Comics, Animation, Mobile, Special Venues, DVD/Blu-ray/CD-ROM, Narrative Commercial and Marketing rollouts, and other technologies that may or may not currently exist. These narrative extensions are NOT the same as repurposing material from one platform to be cut or repurposed to different platforms.

The Transmedia Producer credit goes to the people responsible for a significant portion of the project’s development, planning and/or maintenance, including fosteringÂ audience interaction with the canonical narrative. PGA President Marshall Herskovitz explained the necessity of the new credit, noting that “as technology evolves, it’s no longer adequate to think of a project as simply a television show or a movie; we now understand that the audience will want to experience that content across several platforms.”

Sentient Silicon: A Nanovor Primer

April 6, 2010 / Michael Andersen

lab-rats-group Inside your electronic devices, pre-historic silicon-based monsters are locked in a constant cycle of battle and resurrection. Hanover High School student Lucas Nelson discovered these “Nanovors” using a microscope he cobbled together using his cell phone, some 9V batteries and a laptop computer, and realized the Nanovor could be controlled by zapping them with tiny microvolts. With the help of his eccentric science teacher “Doc Zap” Sapphire, Lucas designed special Nanoscopes that allow his classmates to fight each other with their Nanovor swarms. Thanks to transmedia game designers Smith and Tinker, you can experience Nanovor along with the adventures of Lucas and his friends, the Lab Rats, through a video game, online webseries, novels, comic books, or through your very own Nanoscope that lets you battle against your friends or play solo missions.

Although it is possible to enter Nanovor’s transmedia universe through any of the aforementioned media, I would suggest getting your feet wet by watching the Nanovor webseries, located on both the game’s main page and its YouTube channel. The series follows Lucas and his friends as they discover the Nanovors through two seasons of short, 2-3 minute long videos. The videos provide a thorough explanation of the world and its rules, and is set to fast-paced animation and punctuated by snarky dedications at the end of each video. Viewers quickly discover that Nanovor are more than merely pets after discovering Taslos, a “sensei” nanovor capable of communicating with Nanoscope users. Meanwhile, disgraced nanotechnologist Dr. Richard Diamondback hopes to subvert the Nanovor to exact revenge on his former employer, SKY Labs.

After this introduction, players can choose to delve further into the story through the Nanovor novels and comics, or to jump straight into battling Nanovor with the free online game.Â For those looking to delve further into the game’s backstory, the innocuous-looking Hanover High website contains a number of mini-ARGs requiring players to hack into voicemail accounts and solve puzzles. The first of these challenges can be found at the Hanover High Beekeper Society, an homage to Jordan Weisman’s earlier work on the I Love Bees ARG for Halo 2. Completing the challenges unlocks Nanovor badges that helps with the game’s evolution system, and reveals background on “Doc Zap” and Dr. Diamondback.

Return of the ARG Practicum: A Three For One Deal

April 5, 2010 / Michael Andersen

albrackin
Last year, the University of Texas at Dallas’ Emerging Media and Communications program offered a practicum in ARG design taught by Deus City developer and UT-Dallas professor Adam Brackin. Over the course of the semester, the class developed and produced the Electron Innovations alternate reality game. This year, Brackin’s ARG practicum, affectionately referred to as “ARGlab 2.0,” is back with three new alternate reality games. According to Brackin, these three projects will reflect his Circular Model of ARG Development embracing parallel games, sequels and spin-offs within a shared “game world.”

While Electron Innovations was the product of a six-person team, ARGlab 2.0 is comprised of 20 students divided into four teams. Three of these teams are developing alternate reality games. The fourth team is documenting the creative process of the other groups, and will publish a “making of” documentary upon completion of the ARGs.

The three ARGlab 2.0 ARGs can be found at priestlyindustries.com, iknowwhathappened.wordpress.com, and sunshinebooks4less.com. Priestly Industries explores a contest to win $10 billion in venture capital from the wealthy and eccentric industrialist Gerard Priestly, while I Know What Happened follows novice geocacher Becka Belle as she tries to figure out the meaning of a mysterious box she discovered. Sunshine Books 4 Less, on the other hand, revolves around a series of strange, defaced posters scattered around downtown Dallas.

Month: April 2010 (Page 2 of 2)

Valemont Wins Streamy Awards for Best Interactive, Mobile Experiences

Producers Guild of America Adds Transmedia Producer Credit

Sentient Silicon: A Nanovor Primer

Return of the ARG Practicum: A Three For One Deal

now playing

Archives

More From Us

Find Stuff Like Us