Friday, May 20, 2011

Marketing attention

The convergence of technologies and tools does it lead to the convergence of content where their divergence? That may be so that we could summarize the issue that underlies the question of transmedia, about the heart of Transmedia International Masterclass, held at Marseille last week. After observing what transmedia, let's look at these issues.

MEDIA: complementarity or competition? Susana Ruiz is an artist who teaches at the Interactive Media Division School of Cinematic Arts at the University of Southern California. She is also the founder of Take Action, a studio of game development seriously. In this profile is different from that of many of these stakeholders masterclass.

It is the source of many games that have received some attention as Darfur is Dying, a serious game on the Darfur crisis developed in 2006 or Finding Zoe for awareness of gender stereotypes. She has also developed Values @ Play, a kit online (which also exists in the form of playing cards) to design games with social values.

For her, transmedia is especially a means of mobilization to the problems of society. "Documentaries for instance, they are often fascinating, have a real problem of participation." By working with NGOs and journalists, Susana is concerned with the playability and increase participation.

She dwells at length on Women & Girl Lead, a global campaign around fifty documentaries produced over 3 years by ITVS and PBS channels, accompanied by an essay (Half the Sky written by a journalist from The New York Times has a blog and followed a Twitter account). Transmedia campaign is to involve documentaries in a global campaign platform combining online gaming, portal, educational modules, events and screenings, advertising campaign, etc..

As said Henry Jenkins, documentary filmmakers describe a reality that is already multi-platform ... For Sasha Costanza-Chock, the principle is to develop a distributed system via a "global social movement participatory" with multiple entry points through several organizations. "The challenge is to enhance participation in global identity movement." The games are developed with Games For Change, an NGO specializing on the topic of serious games (which will have a declination in Europe in May) and the idea is that the rewards are transformed into virtual real help.

While some games are designed for Facebook, one of them is scheduled to run on mobile phones in java to be deployed in India, Kenya, Tanzania and future initiatives to help women in these countries ... In observing the profusion of media, one wonders if the media come to complement or compete with each other.

For behind all the experiences that are issued, the figures remain scarce and scattered. Everyone ignores them. What are the objectives? What is hearing impaired? How she responds to the expectations? What a transformation has been achieved? A year after its release in 2007, then, Darfur is Dying was $ 2.5 million games and hit 1.2 million players (it is estimated the number of players to Casual Games to 200 million by the eponymous association, by comparison, Farmville affects 80 million players six months after its launch, each and every month).

60,000 emails were sent through the platform to President Bush asking him to act on Darfur. Is this a result that must be considered impressive or not? Marketing metrics of attention are still difficult to assess. INVOLVED FOR WHAT? Behind all these approaches, it is clear that the substantive issue is the meaning of this involvement.

If the work of Susana Ruiz has a social purpose, this is not the case in most examples that we are shown. Most of the time, it is rather in this society of consumerism that denounced Gilles Lipovetsky in his eponymous essay. Most of transmedia has only one purpose marketing. The purpose of this debauchery of tools is to make you go to the movies, buy a book or a game - and also their complements or all.

Morgan Bouchet vice president of social media and transmedia Orange and Stephane Adamiak transmedia project director in the Division of contents Orange are well aware. "For 10 years, a new complex ecosystem, via the Internet, has put in place, both in terms of actors from the perspective of users.

The content for entertainment exploded. The influx of new services (YouTube and its 2 billion videos viewed per day, Facebook and 300 million page views per month, Twitter and its 90 million micro-posts per day) had a real impact on the players traditional entertainment such as TVs, portals and the press.

Economic models are acquired in full questioned. "The uses also have evolved. In 2005 we watched TV 13 hours per week and we spent 6 hours on average on the web. In 2010, it always looks on TV 13 hours per week, but you go 14 over the web weekly. Practice fragment and délinéarisent. Live TV is only in 2010 that 59% of the uses of television (it also looks at the demand for 8% on mobile for 12%, via DVD for 12% ...).

The younger generation is multitasking: it is estimated that the combined operations of a teenager in 24 hours (excluding sleep) are the equivalent of 31h of work. We watch television doing a lot of things simultaneously. Attention is scarce. "In 1965, it was enough for three commercials on TV to reach 80% of 18-49 year olds.

Today, you have 117 spots to reach such a hearing. "As Jeff Jarvis said:" The mass market is dead, he was replaced by a mass of niches. " For many, the issue of attention is therefore a question of date. Commitment and loyalty are the new horizons of marketing, say officials of Orange. And the stories - storytelling - remains the main way to keep people's attention.

The games themselves are engines of engagement. Communities, they are the levers loyalty, summarize Morgan Bouchet and Stéphane Adamiak. The skills of the game world become techniques that are exported in the social games (which are intended to bring back the player) and gamification. "The transmedia, conceived as a multi-screen narrative experience to encourage participation and social interaction, as is the new opportunity to address these issues, the convergence of games, stories and communities." Of course, recognize Specialists of Orange, the concept remains vague and marketing abuses could be jeopardizing his future.

Investors do not necessarily have a good perception. "It should rather be seen as an adjective to describe strategies, marketing or design." To give them another dimension, a greater ambition. The challenge is to invent new formats, worlds modular and scalable, experiments using each screen context and constraints, dedicated platforms to optimize the user experience and social experience.

For these marketers, "the contents are experiences, operations are continuums and deductibles are the universe." What we understand quickly enough when Orange introduces some of its projects in the field, like device that surrounds the movie The Prodigies, produced by Warner and Studio37, the production company Orange, which will be released June 8 at the cinema.

The film is accompanied by a website, fan pages, a competition, a free application to discover the history of the characters of the film before its release. A treasure hunt and mini-games can accompany the film. Small games can publish their scores on Facebook while broadcasting a promotion film.

While the budget is included in marketing costs of production. Warner has the sole purpose that promotes the entries of the film upon its release. Ideally, it should go beyond the output device and accompany a second phase, but the partners are not yet ready for this, recognize the promoters of the device.

Detective Avenue is a web series in 60 episodes inspired by Cluedo to eat at the request of 6 weeks. It is a little alternate reality game with revenues generated from SMS advertising and sale of the dedicated application. Fanfan 2 is another experiment with the writer Alexandre Jardin around following his successful novel.

The aim was to bring readers and fans around a digital experience related to the characters of fiction using such constraints Facebook and Twitter and supporting its promotion through a competitive process and applications. The community is maybe not massive, but it is faithful and contribution, especially on Facebook, recognize the organizers of the experiment.

Experience has first course appeals to fans of the author, but also would have allowed younger audience. By launching this experiment, the team thought blockage on the technological barrier, not sure the followers of Alexander Garden would follow on other technological media than paper.

A priori, experience shows otherwise. Can we therefore speak of success? Again, the metrics of the device are difficult to assess. Faced with hundreds of thousands of copies sold that represent the 437 subscribers to the Twitter account or the 5000 likes on Facebook? Jean Devevert meanwhile is director of the Hypermedia Lab in Orange, which brings together nine teams and 135 people involved on all technology and entertainment services group.

Steeven Plu game designer is to R & D Lab and Hypermedia transmedia specialist at Orange. For them, these new entertainment features require to make available to authors and producers the tools necessary for these experiments. "In the transmedia, we often forget the concept of media. Now the media is an ambiguous term.

It is both what we carry and the means of transport. And this ambiguity is also reflected in the transmedia. Transmedia storytelling is telling a distributed experience. This is not just a story, but it can also relate the news, trademarks, "said Steeven Plu. It is both a narrative, that is to say a series of events or sequences which are managed drama.

It is also a mechanical engagement end of the game is finally mostly transport, that is to say how it conveys the information (the media, infrastructure, logistics that can live experience). "The transmedia is techno-agnostic," recalls still Steeven Plu: "Disk-world created by Terry Pratchett, the fantasy world of fantasy comedy, which is over 37 pounds are going very well technology.

The narration is not distributed so new. " Transmedia storytelling is transported by containers and a network (go to Media format). She has multiple entry points (rabbit hole) and at least one common thread (breadcrumb). For Steeven Plu, transmedia is a "meta-media" and technology is a way to make a bridge between Tech News Buzz physical and digital.

But for that you need especially to understand what makes each platform as a service to us. "The like of Facebook allows for interaction, Facebook Connect allows to interconnect its network in the narrative ... We need to understand the role of platforms in terms of uses and possibilities.

Because these new narratives must integrate tech, services, application programming interfaces. It is for Plu Steeven one of the issues: achieving abstract technology of interactive writing. One of the pitfalls of transmedia currently relies on the identity silo, said game designer. The identity of the players can fine design experiments to create a complex narrative that is both realistic and immersive.

However, you need a phone number to access your phone, an email address to access your mail account, your Nabaztag address to access it, etc.. What is not so simple to assemble. To impose this constraint Plu Steeven for now, often having to give up the identification. Or to use a channel ...

because most often people refuse entries too formal. "You could rebuild the course profile on the fly, as the involvement grows by requesting pieces of identities gradually participants ..." But this requires a very fine strategy. Besides the update identity data is a problem ... The future of this art of storytelling multiplatform depend Does the adoption of unified identification technologies, NFC will provide that within a few years the bulk of mobile phones for interacting with physical media, of leaving traces? ...

Maybe. What is certain, says Steeven Plu is that transmedia will evolve with technology. "It gets to a stage that requires interactive and ubiquitous technology providers to work closely with content providers and authors", as Orange showed in experiments described above. They are not only reads and writes that become industrial, to use the concept of Alain Olivier Giffardaugmenté Ertzcheid, but it is a process of industrialization of the attention we invite transmedia.

To paraphrase the definition, the "area of attention is the industry facing the entertainment industries and audiences. The entertainment industry is undertaking the marketing of our attention, in any form whatsoever, to marketing the public. " Because it is the utility, the purpose of involvement mentioned? The devotional is sometimes used as a pretext.

But you can see by observing the embodiments transmedia, that the purpose of marketing has already won over creation. One perspective (maybe) reassuring is that the technologies at work and the means of narration will perhaps not only reserved for cultural industries (even if they have more resources than others to use them ), but also to everyone.

The future of transmedia is not reserved for mega-Hollywood, but can already be used by smaller players. Provided they manage to weave a path that is not marketing the poor.

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