Via Scoop.it – Transmedia: Storytelling for the Digital Age
I’ve never seen a room of theatre folk this curious about a new innovation in theatre storytelling. Probably, because there hasn’t been a new innovation in theatre storytelling for decades….
Via Scoop.it – Tracking Transmedia
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A Fond Farewell to “This Is Not A Game”February 6, 2012 · By Michael Andersen in Opinion
This Is Not A Game. This seemingly simple mantra, coined by a collective of Microsoft Game Studios employees, has served as a rallying cry for alternate reality gaming fans and developers alike. And yet, it is also one of the most misunderstood aspects of the genre. As alternate reality games have evolved, so too has its nomenclature: puppetmasters have gradually given way to game developers and transmedia producers, and “this is not a game” itself has fallen into disuse. Perhaps it’s time to make the term’s retirement official.
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On February 5, at the Lucas Oil stadium in Indianapolis, Madonna will take the stage as part of the halftime show for Super Bowl XLVI. No one knows what to expect (although Nicki Minaj showing up is basically a done deal), but with Cirque Du Soleil’s involvment already confirmed, it’s safe to say the show will be visually spectacular.
Helping to realize those visuals is the Montreal-based multimedia design firm, Moment Factory. Responsible for some of the most recognizeable and cutting edge installations around the world (including Arcade Fire’s now legendary LED ball drop at last year’s Coachella), Moment Factory is working closely with Madonna to create something unforgettable for the world’s biggest stage. We recently spoke to Moment Factory’s founder and Creative Director, Sakchin Bessette, about his company and his work, and did our best to pry out secrets about February’s big show.
What phase of development are you in for Madonna’s Superbowl show?
Well, we’re still developing the whole project. This is the first time we’ve worked with her, so we’re getting to know each other, creating trust and an inspirational and creative relationship, which is a lot of fun. She really gets into the details, and she’s really focused on a lot of different levels, which not a lot of the artists are. Working with Nine Inch Nails for example, Trent was very involved in the details, but in a different way. With Arcade Fire it was different. It depends on the artist.
Did this partnership come about through Cirque du Soleil?
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