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Posted on 09.03.09 by Alexandre Maron @ 03:01
Even unexpectedly, news stories can become a game. The TV show Fantástico, a weekly variety show with dramaturgy, humor sketches and journalism that airs every Sunday night in Brasil on TV Globo, ran a story about how a singer called Belchior, very popular in the 1970s, had vanished for months. The arm of Globo?s journalism online, G1, ran the story (originally produced for the TV show) in digital form (sorry, link in portuguese). They transcribed part of the text from the video and it was online a few hours after it was seen on television. Immediately, readers from every part of the country started to send information about Belchior sightings. They had photos, stories and dates. “We didn?t expect that”, says Renato Franzini, executive-editor of G1. “In the morning, we had many messages telling us about sightings of the singer. We decided to put it all together and make it a new developing story.” The editorial team made a map where it was possible to pinpoint a sighting and the date Belchior was seen there. This is an example of a challenge that was established for the audience (find Belchior) even though nobody in the TV show or the website, asked for the help of the audience. It emerged naturally. People started to post videos on You Tube parodying Britney Spears while Fantástico kept promoting the story with other artists talking about the singer. The news story became suddenly something that looked a lot like an Alternate Reality Game. And people even started to think that it was some kind of promotion or viral. After one week, the TV show ran a story showing that they had found the singer in a cabin in Uruguai, ending the search. The way the show handled the highly anticipated finding of the singer was an anticlimax at best, but the original concept is too good to be ignored. The mix of crowd sourced journalism and ARG is a very interesting tool in the new cross over between social media tools and media outlets. Filed under: New Ways to Play and Rules of the Game and Social Media and The World as a Playground Agree? Disagree? Want to report an error? Comment: None |
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Posted on 05.09.09 by Alexandre Maron @ 20:12
There are things in life that are necessary, but not exactly exciting. Let’s look at the good old moment when an urban, hip and well informed couple wants to go out for dinner and have to decide where to go. Well, if you are in London, you could go to Yelp. Choose a cuisine… Then, betwen a plethora of options, choose a restaurant… And take a look at what is people saying about the place. Three straight forward steps. Simple, but have nothing special and sometimes not finding the right place could be frustrating. Now. Let’s go back one step. Lets break it down in pieces. Well, we need to find a restaurant. We may define the kind of food, where and how much we are willing to spend. Three variables? There maybe more, but let’s stay with these ones for now. Does it have to be this way? Is there any way we could do the same thing and make it, hum, sexier? Make it funny? Fun? Let’s see how Urbanspoon answered this question… Cool. I know that if you are a passionate Iphone user, you may already know this app, but the point is: this is one of the most perfect examples of the Play Factor. But we can’t forget that an Iphone app is going to a specific kind of audience. So, the website of Urbanspoon is still a very conventional one, although tey have a version of the application there.
So they have in mind that they need to be able to offer the right experience for the right customer. Filed under: Definition and New Ways to Play and Social Media and Videos Agree? Disagree? Want to report an error? Comment: None |
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Posted on 03.16.09 by Alexandre Maron @ 03:24
It is hard to think of better examples of Play Factor application than deep media products. You know them. TV shows like Lost, The Office, Battlestar Galactica, Gossip Girl. Movies like The Blair Witch Project, Matrix, A.I., Batman – The Dark Knight and Watchmen. Book series like The Da Vinci Code, The 39 Clues, music artists like Trent Reznor or the band Radiohead. And games. Oh, come on, they had to be there too, right? You can start with the Alternate REality Games and now wich some big titles like Halo and Dead Space. But it doesn’t stop here. If you just stop to look at Deep Focus and 42 Entertainment projects for a few seconds you will see the possibilities emerging. They are everywhere, as the South by Southwest Conference can show us. And they use all the possibilities of the Play Factor. They try to engage the audience in various ways. They even are capable of engaging different demographics in the same fictional universe through different channels. But more importantly, they make people interact, play the products and with the products. But, please, there is a difference between a product that is adapted for more than one media and a real deep media experience. Gone With the Wind the book became Gone With the Wind, the movie. Great. We are talking about a TV show like Lost. It has a mythology that transpires to the real world and make it’s audience enjoy it at various levels of complexity. Being complex, naturally chalenging it’s audience in subtle and sometimes in very direct ways, the show becomes more than a show, and the game, and the books, and the websites. The Play Factor is obvious here. Filed under: New Ways to Play and Rules of the Game and Social Media Agree? Disagree? Want to report an error? Comment: 1 Comment |
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Posted on 03.12.09 by Alexandre Maron @ 04:09
One of the first lessons some companies learned (or not) when playing with new media is that this is a different kind of beast where, instead of a monologue, you have a conversation (ok, I heard it som many times that this phrase annoys me). Even when you don’t want to. A few years ago, GM launched a campaign asking internet users to make video ads about one of its cars, the Chevy Tahoe. Oh, you can imagine how excited they were. How modern to make such a campaign. The, hum, “problem” with these kind of ideas is that when you give power to the people, it is difficult to take it back. The users started making ads about how the Chevy was a terrible car that was bad for the environment. L-o-t-s of ads. If you want to give control away. Give it and go with the flow. If you do it the wrong way, backlash is coming certainly. This was one history for the books about do’s and dont’s of the new era of advertising. But it seems that some people don’t read these books. Or don’t have a good memory at all. Skol, a beer brand from INBEV in Brazil, launched a campaign that was supposed to be hip, modern, smart and oh! so cool. They hired two of the best comedians of the new generation in Brazil and made videos where these guys told jokes about Carnaval and made a call to everyone: send your jokes and stories and we will tell the best ones here. One guy liked the idea and developed his videos. But not exactly what Skol’s marketing people had in mind. He made a video telling sad stories about drunk people driving and killing bystanders or just beating their relatives. But he told all of that as they were really funny stories, copying the aesthetic of Skol’s videos. It became a huge hit instantly. And it didn’t take long before he was “gently” asked to take the videos out. He told the story in his blog and changed the video. He took off all the graphics linking his video to Skol but kept the text. The result is even stronger, if you have the context. Even though you don’t understand portuguese, just take a look at the three videos and get the spirit of the story. Here is the video from Rafinha Bastos. This other one is from Danilo Gentili. This is the video from Ronald Rios that talks about how drunk people can do bad things. He tells terrible stories as if they were really funny. Notice that he took all the graphics off, to break the visual link to Skol’s campaign. What Skol’s guys didn’t seem to understand (like GM’s marketing guys didn’t see in 2006) is that the internet and social media doesn’t work their way. This is the first stop in our journey about knowing what game you are playing. In the metaphor I am trying to develop in this research, you need to know if you are playing Game of Life, Risk or Monopoly. If you are playing with Legos or woodblocks. If you are painting together with a group in a room, or just looking at a naked model. You need to understand the game you are playing, the play and then develop or read the rules. With that in mind, the next step is to call the right people, to the right place to play. When you start to understand that, things become more and more clear. But you still have a long way to go. (With thanks to Trabalho Sujo) Filed under: Rules of the Game and Social Media and Videos Agree? Disagree? Want to report an error? Comment: None |
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Posted on 03.02.09 by Alexandre Maron @ 13:51
We will talk a lot about social media, social networks and all around it, because these subjects are intrinsically related. The play factor is something that you do for an audience, to make them (your readers, spectators) engage with your content. To make them talk with and about you. So, the dunbar number is a very important component. You should see it as a limit, a concept and a challenge. The idea is that a human being in uncapable of having networks of friends beyond 150. Oh, well, you can have more friends than that, of course, but we are talking about having a real relationship with this network. (To tell you the truth I doubt that I am capable to even relate to half of this number. But I digress.) Even then, he/she, on average, will answer messages from, let’s say, 7 to 10 of them. This is seen as cognitive limit and should not be overlooked. There is an interesting article on The Economist about the subject. Filed under: External Content and Social Media Agree? Disagree? Want to report an error? Comment: None |




