Createasphere’s Digital Asset Management Conference
February 22-23, 2012 | The Beverly Hilton | Los Angeles, CA

Exploring the management of digital assets, media assets, marketing resources, content & information lifecycle, and storage, security & preservation.

Take part in two days of focused sessions for professional creatives, marketers, digital librarians, IT specialists, and executives. A robust exhibition of solution providers offers the best opportunity to examine specific products and talk with industry suppliers and experts. Networking mixers and VIP events round out this must attend event covering entertainment, new media, retail, museums, non-profits, and government.

My Panel: Reducing the Digital Friction with Transmedia
Transmedia insiders are striving to break down previously impermeable silos between platforms to develop and produce high-quality experiences with cross-platform properties while still delivering a meaningful message. These panelists will discuss the challenges they face in working across departments and media partners and how they see integration further breaking down these silos.

Discount Code: Use the registration code DAM20 to get a 20% discount.

The topic of his talk was the business of transmedia. Literally.

Perhaps keying off Mike Monello’s recent admonition for independent creatives to talk less and create more when it comes to transmedia, Brian proposed a couple of frameworks for both dissecting the current typical business model for transmedia experiences and constructing some new ones.

First, Brian outlined the five challenges he sees for current transmedia experiences:

• Funds – where will you get the money to pay for the expenses of your transmedia experience?
• Return – what do your funders expect in exchange for their money?
• Sustainability – how much money will you need over what time period?
• Audience – does it exist / how big is it?
• Promotion – how will you reach your audience?

Next, Brian laid out what he saw as the biggest problem with the current approach for transmedia experiences: almost without exception, they use the same model, whether they are produced by media companies, consumer brand companies or what Brian calls “issue” organizations (social cause, non-profit, etc.).

In the current transmedia business model:

• Funds come from someone else
• The expected return is impressions / ratings / awareness (not money)
• Sustainability for the experiences come from charging a fee (consulting, production, etc.)
• The funders will tell you how big the audience is (and who they are)
• Promotion comes from what are referred to as owned, earned, and paid media

Brian then proposed looking at examples from the independent media space for new transmedia business models. Brian identified the following (8) types of independent models:

1. No-budget aesthetic
2. Grass-roots / DIY / “some budget”
3. R&D (learn as you; project X funds a solution that can be used on future project Y)
4. Fan Incubation
5. Fan Funded (think pre-sale)
6. Arbitrage plays
7. Audience Product
8. Infrastructure Play (re-usable tool/service/process)

Brian explained that for each of these models, the response to each of the five challenges changes. For example, the no-budget aesthetic model doesn’t require funds, while the fan-funded model secures funds from existing fans. Brian didn’t explore each challenge for each independent model in detail, so I’ll leave it to him to go into more details about the subtleties between these models.

The final comment I want to make from Brian’s chat is his plea to avoid falling prey to two common but destructive concepts when it comes to experience design.

The first is the desire to maximize the “reach” of an experience. 50,000 page hits mean nothing if only 250 are likely to purchase your product/service. Reach without context makes for a poor design.

Concurrent with this is understanding the fallacy of the average. If your website has an average time onsite of 1:24, that means nothing. The better question is finding out who is spending 3 minutes, 5 minutes, 10 minutes on your site. Those are the customers you should be designing for.

Big thanks for Brian to calling attention to the nuts and bolts of building new business models for transmedia experiences – looking forward to hearing more details from him about this!

What became clear is that unless you are crystal clear about what you want to measure (and how) before you launch any experience, the downstream metrics will likely be muddled. And – not unsurprisingly – we haven’t hit on concrete standards for defining the various kinds of engagement we see in transmedia/ARG/participatory experiences.

Here’s some of the responses I received (and big thanks to everyone who answered my query!):

Dee Cook

“I think it depends on how high the barrier of entry is to the project.

I recently worked on a project where the registrant:unique visitor ratio was 5%:95%. User-created content was 10% of the afore-mentioned 5%. But the barrier to entry was somewhat high, requiring registration in order to submit content. So that project, instead of 90/9/1, was more like 94.5/5/.05.

On a campaign where people can play in the space they already inhabit, I imagine that numbers could indeed reach those spoken about in the article.”

Brooke Thompson

“Barrier to entry is definitely a factor – not that I have any specific hard data to give you (though I may be able to dig around and see what I can find). But I do think that it goes both ways. For example, a game with an extremely high barrier to entry will likely have a much smaller but heavily engaged audience – because once they cross the barrier they’re ready to participate.

It also depends on the nature of the project and how clearly it comes across. A lot of ARGs suffer because they are intentionally obscure. You may get a lot of people that come and take a peek but when they can’t figure out wtf is going on, they disappear. By contrast, I worked on a project that was very explicit from the outside – all marketing materials pointing to it stated clearly what one could expect (a treasure hunt, puzzles, geocaching, really cool prize). It had a very high rate of participation because people came to it wanting to participate.

That said, I’m inclined to believe that there where the nature of the project really comes into play is with the difference between commenters & creators… though, with ARGs, some could argue that commenters are creators ;)”

Michael Andersen

“The best resource for publicly available ARG statistics is Christy Dena’s pages on domestic and international campaign metrics.

http://www.christydena.com/online-essays/arg-stats/
http://www.christydena.com/online-essays/worldwideargs1/
http://www.christydena.com/online-essays/worldwideargs2/

Campfire released some of their participation statistics from Maester’s Path (along with the goals set).

Jan Libby

[Jan and I exchanged several emails, and after summarizing her responses, she confirmed I accurately captured her sentiments below]

Jan is increasingly using a different design approach that explicitly targets demographic subsets, rendering the idea of a “lurker” participant as irrelevant. Every person touching the experience does so through a design of planned awareness.

Ultimately, under this design approach, the participation numbers will be whatever you want them to be, depending on how your designed the experience and how you defined your audience before you launch the experience.

To sum: the participatory rate is whatever you design for.

Evan Jones

“Participation stats seem to be the most controversial topic in Transmedia for two reasons.

The first is double-dipping.

When someone watches your television show AND visits your website, they are counted each time. It’s near impossible to ‘prove’ that it’s the same person without some identifier, and the same thing goes for doubling up on Twitter followers vs Facebook Likes, etc. Some people use rampant double-dipping to boost numbers when numbers are the only thing that matter. I’ve even heard of designers pushing to add platforms specifically to get the doubling-up effect.

The second is depth of engagement.

So many times the numbers trafficked are ‘visits’ since there are no other standard definitions for ‘player’ or ‘participant’. I’ve struggled to make sure all my reports give qualitative analysis of this area, but when comparing projects to each other, qualitative loses out to hard numbers. For those you end up in the lowest-common denominator where your competing with the ‘impressions’ a freaking billboard on the highway gets. Very tough to measure overall engagement in a way that makes sense outside the profession.

The talks that I’ve given discuss the ‘tiered system’ that I’ve observed over the years. Traditional web metrics would suggest a linear curve from earliest engagement to deepest, but I’ve found that it isn’t the case. People self-select to push ahead to the next category and eventually hit a wall where they won’t cross. The 90-9-1 stuff is still relevant to me in that many projects just have a natural 10% crossover rate to the next stage. If you promote a website on television, it’s fair to guess that 10% will remember the URL and visit it. If you ask for a login to see more, you’ll get 10% that will login. BUT what I’ve also seen is that the quality of the design of these transitions can affect these stats. I’ve had some projects see up to 20% crossover what I’d call a ‘transmedia barrier’ – I’ve even seen A/B testing shift between 5% and 15% which is a great boon to iterative design and analytics, but horrible when it comes to saying it’s a 90-9-1 hard and fast rule.

The issue really only comes up in design and one business-related question: “Why wouldn’t I just market to the 90% and forget about the high demands of this 1%?”

I know you probably need some numbers though to make this point. I’m afraid many of my past ARGs aren’t under my control so I’m not even sure if I could GET at the numbers. From what I saw anecdotally, the concept of designing specifically for audiences on both sides of a barrier makes for a more successful project. If you make it fun for the people who don’t want to register, and then you make it fun for the people who do want to register – then everyone has fun. Sounds ridiculous to say it that way, but that’s how I’ve thought about it.”

Rick Rosenthal / Whitewater Films

Zak Kadison / CEO, Blacklight Transmedia

Ben Rock / Transmedia Filmmaker

Rick Jacobs / Off Road

Should be a great conversation based on the other speakers (myself notwithstanding!).

The roundtable is 1-3pm and includes lunch. If you’re interested in attending, please RSVP at rsvp@whitewaterfilms.com.

But I wondered if there was another contributing factor, perhaps something inherent in the design or architecture of ARGs.

So, I’m posing the question to those with far more ARG experience than I: why are ARGs currently relegated to one-and-done status (and can or should they be liberated to serve more than once, either as a self-contained experience or as part of a larger entertainment experience)?

[apologies for the picture quality; I didn't have a tripod, and there was no lighting on the panel speakers at all!]

The result was that I professionally stepped away from the term even as I personally continued to pursue it (for reasons I explained here and here).

A lot has happened in the last year, much of it in the last two weeks, to influence my views on transmedia. It seemed a good time to re-evaluate my decision from last year.

What’s New?

• Thy name is Transmedia…sort of.

Within a month of my post last year, the Producer’s Guild of America created a new credit: the Transmedia Producer.

From my small and subjective corner of the world, this seemed to have one very profound effect: it ended some of the global debate over whether this practice should be called transmedia, cross-media, multi-platform integrated whosiwhatsit, or something else.

The upside was that it shifted many of the conversations from “what should we call it?” to “what does it mean?”

The downside was that it acted much like a time machine, executing a kind of revisionist history around the world, ignoring much of the prior work not labelled transmedia (but which clearly addressed that space) to go ignored in Google searches.

But regardless of the true impact of the PGA’s announcement, the last twelve months definitely saw new organizations and people embracing the transmedia term:

• Transmedia Artists Guild

Although the Transmedia Artists Guild debuted at last year’s ARGFest, I think their SXSW talk this year really served as their official launch (the site went live earlier this year, and their talk at SXSW was very well received).

• Transmedia Storyteller

The Transmedia Storyteller community has been actively connecting people and sharing content/ideas/updates in the transmedia space for months. While it’s a company-backed community, its founder, Robert Pratten, has encouraged input from others around the world.

• StoryLabs

Gary Hayes founded StoryLabs to share best practices in the transmedia space and provide a global clearinghouse for creatives seeking transmedia mentors.

• You Suck at Transmedia

Started by Christy Dena, You Suck at Transmedia is meant to limit the amount of, well, sucky transmedia.

• Hello, My Name is Transmedia

I was thrilled to see so many new voices like April Arrglington, Lucas Johnson and Simon Pulman entering the transmedia conversation with blogs a blazing, bringing new insights, perspectives, and energy.

• The Royale with…Transmedia

Karine Halpern has been rallying transmedia support all over the world from her European base of operations. She is determined to make the world Transmedia Ready.

And though the explicit link to transmedia in this next point is perhaps tenuous, I would be wrong to omit a significant capital event that occurred recently involving Fourth Wall Studios:

• How Much is that Transmedia in the Window?

Almost a quarter of a billion (with a “B”) dollars ($15,000,000 in operating capital, plus what amounts to a $200,000,000 line of credit, to be exact).

That’s how much the richest man in Los Angeles valued transmedia earlier this year when he committed those funds to Fourth Wall Studios (which also partnered with No Mimes Media earlier this year, bringing together some of the biggest ARG veterans under one roof).

It’s hard to determine the company’s official position on the term transmedia, since their website is literally a one-page website with zero information on it. However, just about every online press release for this funding included the word transmedia, and Googling “‘fourth wall studios’ transmedia” yields hundreds of hits. Whether or not Fourth Wall views its work as transmedia, the rest of the world apparently does (and Fourth Wall isn’t publicly disagreeing).

What’s Old?

Yet, for all of the positive momentum behind the term, or perhaps because of it, the past two weeks demonstrated that the backlash is very much alive and well. And even within the transmedia community, there was some recent dialogue that raised issues and pushed back on the term.

This happened last year about this time, so perhaps it’s a cyclical kind of thing.

I recently tweeted that building a community is not the same as building consensus. Based what I saw online in the past couple of weeks, we still a long way from consensus about transmedia.

• There is no ‘me’ in Transmedia!

Steve Peters recently got on the anti-transmedia wagon (which he started at SXSW, posted about, and is still continuing on twitter under the hashtag #antitransmedia). Steve is a great and funny storyteller, and his #antitransmedia tweets are hilarious. Worth reading even if you disagree with him.

4DFiction gave a great synopsis of many of the recent comments from lots of people in the transmedia space, and it took a similar position to transmedia v. franchising as Peters.

• “Excuse me, waiter, but there’s a man in my transmedia.”

No stranger to transmedia, Andrea Phillips started a…how shall I put this?…passionate discussion about ‘Sexism in Transmedia.’

• If you call it ‘buzzwordgasm,’ that’s bad, right?

Then there’s this somewhat related post I found on the Guardian that wasn’t about transmedia but instead about the efforts of some companies to influence paid-for blogging reviews (in this case, for the film, “Source Code”). It’s hard to defend transmedia when so much of what’s called transmedia either isn’t or is awful. Perhaps someone on the “Source Code” team should have taken the time to spin through You Suck at Transmedia.

What struck me about this post is that there’s still a ton of mis-information about transmedia out there. If your first encounter with the term transmedia is an article referring to a pretty awful entertainment experience, how likely are you to want to learn more about it?

So, What’s Next?

I have no idea what’s in store for transmedia over the next twelve months, so I’m not even going to bother making predictions.

But here’s what the last twelve months indicate to me.

• The Transmedia Community is Growing Overall

For all the negativity, the past year saw an increased interest in transmedia, as well as demonstrated the desire for many around the world to connect with others in the transmedia space. And despite the discord and disagreement over the term and its definition, I perhaps naively still cling to the view that there’s value in the word ‘transmedia’ and the concept behind it.

Moreover, there’s value in constructively discussing our differing opinions.

To that end, I will continue advocating transmedia, mostly through building communities around the topic.

I’ll continue to support the Transmedia Los Angeles group that Jay Bushman and I co-founded (and which Tara Brown is now co-organizing with us). We’ve had steady attendance for over a year, and tonight’s meetup with the Starlight Runner team quickly filled to capacity.

And I’m devoting time and energy to a new project called Transmedia Feed, an organization I co-founded with Brooke Thompson. TF aims to bring together the various – and often isolated – transmedia conversations around the world and across industries. I’ve been waiting for someone to create a site like this, and after almost two years of waiting, I’ve decided to build it with Brooke.

• Community is not Consensus (and that’s a good thing)

We will never all agree on the term transmedia, much less the definition behind it. For a practice so grounded in creativity as transmedia is, I think that’s good.

As Guy Gonzalez recently tweeted, “consensus is evil.” I posit that no one fully grasps transmedia as it is, much less as it will be in the future. Now isn’t the time to put transmedia into a one-size-fits-all straight-jacket. Doing so would simply stifle the creative experimentation at this early stage.

I’m encouraged by all of the conversation about the term, even if it isn’t all in agreement or positive in nature. I hope the conversation is constructive and open, but I’ll take any conversation over silence.

If anything, I’m even more enthusiastic about the transmedia community than I was a year ago. I continue to meet smart, talented, and nice (nice!) people in this space. It’s a group of professionals unlike any I’ve had the pleasure of knowing.

• Transmedia Me

For better of worse, though, I’m sticking with transmedia. Heck, I’m doubling down from a personal standpoint.

Ah, but where does that leave my company? Honestly, in a place not much different from last year, but the difference is very important.

I still don’t have the word transmedia on my company site, Brain Candy, LLC.

I am not (yet) referring to Runes of Gallidon, my company’s IP, as a transmedia property, though I hope to at some point.

I’m creating a story that starts on the Gallidon site, moves to a live-action-role-play (LARP) experience at this year’s Wyrd Con, then comes full circle as the LARP experience is brought back into the Gallidon world as official canon (most likely by writing up the LARP as a short story/novella).

I’ll start the story online, but I’m not scripting the LARP, so I don’t know how the story will end. No one does, actually, since the narrative conclusion will happen improvisationally during the LARP. This kind of experience totally hits my sweet spot for collaboration, improvisation, and participatory entertainment.

But does that qualify the story as transmedia? Does it qualify Runes of Gallidon as transmedia? I’m not sure, though I think it puts the property a step closer to transmedia.

So, what’s different twelve months later?

I’ve found a comfortable place to exist within transmedia at the professional level, and that’s as someone who views it as adjacent and complementary to my focus on participatory/collaborative commercial entertainment. I somewhat brazenly called collaborative commercial entertainment ‘Transmedia 2.0‘ in a presentation last year, but working through that presentation really helped me understand how the two concepts align.

My view of participatory entertainment can exist perfectly fine without transmedia, and much of the transmedia out there doesn’t meet my qualifications for participatory entertainment. Put those two concepts together, though, and a whole new future of entertainment experiences begin to open up.

Brain Candy, LLC remains outside the transmedia field and focused on finding ways to collaboratively bridge creatives and audiences.

But I’m flexing my transmedia wings this year and taking my first tentatives steps towards the creative edge. Here’s hoping this monkey can fly!

So, I’m hitting the Big Apple again, after a far too-long absence. Very much looking forward to the conference and the chance to connect with friends in NYC.

Ping me if you’d like to meet up!

• Summary / Group Updates
• LARP Experience Overview
• Follow up from Aaron Vanek
• Next Meetup

We kicked off the new year at TLA with four words: Live. Action. Role. Playing.

Also known as LARP.

But first, a few items of note:

• Two members completed their master’s degree thesis last month: Cynthia Lieberman and Angelique Toschi. Grats, ladies!
• There was a consensus amongst the group that when you give a brief introduction of yourself to the group, it’s probably best not to use the word, “suck.” It’s definitely not good to use it twice.
• Mike Bonifer highlighted an interesting new project: LoNYLa Project.

The site describes the London/New York/Los Angeles (LoNYLa…get it?) as, “a shared, collaborative space for artists worldwide to develop and expose new material for stage, film and television” where the “project will provide a lab environment that links three major cities to help artists develop material for stage, film and television. Leveraging new media applications and the Internet, LoNyLa will facilitate transatlantic collaboration, feedback and exposure for artists and their work.”

Mike promised more inside details, so watch the distro list…but now, back to the LARP!

Aaron Vanek ran an experience called ‘The Road Not Taken’ for the entire group as a prelude to discussing the format of the experience and its possible role in transmedia storytelling. This LARP presents a series of different ethical dilemmas, where the outcomes were neither right nor wrong and the emphasis was on the improvisational and collaborative nature of the scenarios to creatively resolve the dilemma.

Aaron passed out a “Player Briefing” document, then explained how we would play this LARP.

Aaron Vanek explains the rules to Ben Rock, Tara Brown, Cynthia Lieberman, and Mike Bonifer...

While everyone seemed to enjoy themselves, we also took it seriously and spent time “getting into character.”

...while Cynthia's and Mike's dopplegangers and Jenka Gurfinkel, Angelique Toschi, Dan Novy, and Chia Lynn listen

Ben Rock, Chia Lynn, and Alicia Conway get in character

We ran almost ten different rounds of what can only be described as very intense scenarios. One group member was the main character and was surrounded by the rest of the members who tried to persuade the main character to choose a particular path. Voices were raised, and more than a few wild gestures were thrown. We even had a spontaneous outbreak of Power Knitting during a break!

Mike's in the hot seat

Dan's in the hot seat but doesn't seem to mind!

Angelique knits a Dr. Who (!) scarf during a break.

After the LARP, Aaron gave a bit more background on LARPing and answered questions.

Click here for audio

Thanks to everyone who participated in the LARP, as well as to Aaron for volunteering to run it. If you’d like to know more about LARPing, email Aaron directly (and be aware that a major LARP convention, Wyrdcon, is coming to Southern California in June).

Below is a copy of the email Aaron sent out to the group:

“Hello,

Thanks to everyone who came out and participated in the larp “The Road Not Taken” last night. That was tossing you into the deep end of live action role playing.

Notes:

My essay on larp is a free PDF. It’s called “Cooler Than You Think: Understanding Live Action Role Playing”, and although long, it has some cool illustrations by my friend Jennifer Albright and a lot of white space. It’s inspired by Scott McCloud’s landmark book, Understanding Comics.

The Road Not Taken was created by and designed by Mike Young of Interactivities Ink. From his website, you can freely download the original TRNT scenes as well as more of Mike’s games.
The scenes from last night were written by me. I am in the process of rewriting more scenes to go to Belarus as part of the larpwriter challenge. That group is looking at larp as an instrument of social change, a very (VERY) big topic in the Nordic larp scene, which is ahead of us here in America. But I’m trying to get us catch up to them. ;-)

You all did great in the run of TRNT last night. I hope it spurred some thoughts and creativity. Thanks for sticking around and discussing it.

Some issues I want to make, notes on the run:

(all my opinion)

1. Genuine human interaction is hard to fake or replicate in static words. Body language and volume and vocal inflection do a lot in interaction. Notice last night that where people were standing was important. I like that Dan got on his knees for the scene of “boyfriend in a coma”. How can an interactive dynamic change when someone is kneeling before you? Can we do that with twitter? Are emoticons up to the task?

In a chat, for example, why do some programs give us a small indication that the other person is typing? What about chat where you see exactly what they are typing in real time?

Does it give more emotional subtext to see someone write “I love” and then delete the word “love” and write “really like”?

2. TRNT is really about the group.
This is the second time I’ve run it, and I’ve played it once (Mike’s scenes). In each instance, the group has grown together, gotten to know each other better, after just a few scenes.

It’s a great team building exercise, even if the scenes aren’t directly about anyone particular in the group. I notice that the first few scenes are a little awkward, but by the fourth or fifth, they can get really intense. I
was tempted to bring a box of kleenex, because in the other two runs, there were tears.

The other runs, though, were in a quiet, secluded room, and each scene had ten minutes, not five.

But what I like about this, and one of the main elements of larp that I enjoy, is that the participants are creating the content, the story. TRNT is really hands off for me as the writer, all I did was explain rules and watch the clock. You did all the rest.

I think that aspect of larp, and transmedia, is one of the highest hurdles for commercial companies: “What, you mean I turn my IP over to the public? GET OUT!”

In my little socialist head, that’s exactly what I want to do: *use larp to show people how to entertain themselves with less corporate-fed packages.* Of course, this is also why I’m broke.

Mike Young is writing up an essay on how to write TRNT scenes, so people can take that system and create their own content. After my second run, I had some who wanted to do just that, but I wasn’t able to help or participate in that.

3. As I said last night, elf ears and boffers are to larp as super heroes are to comic books.

Fantasy campaigns (and I’m involved in them) are fun, flashy, and the most recognizable, the most profitable as a larp, but Superman and Spider-Man are not all of comic books.

I’m interested in widening the reach and understanding of larp to include things like mock trials, the Model UN, military simulations, the Stanford Prison Experiment (larp gone bad), etc. I’m interested in the fringes of larp.

Just as a crazy note, a friend of mine spotted what may be the first reference to modern American larp in a 1941 issue of LIFE magazine (go to page 102).

*4. So my question to the list is, how is larp transmedia, or is transmedia larp, or both, or neither, or something else?*

5. I would love to debate and discuss that question further at Wyrd Con.

Transmedia and ARGs are invited; I have a meeting room reserved all weekend just for Transmedia; we can do anything you want. I would especially like to encourage a game or event as well as panel discussions, roundtable,
lectures, etc.

I would especially like to see some kind of activity that leads up to a climax at the convention. So maybe a Twitter creation group, where each person is a deity in a pantheon, create a world, and then at the con we play in the world? A spy thriller? An election/campaign for Galactic Emperor?

And of course, I encourage everyone to sign up and register for Wyrd Conthis year. If you run stuff, you get deals on membership and such. I also have discounts I can offer.

Re: Boffers
Tara, if you want to build boffers and have a combat, I can arrange that (easily). I’m on the Board of Directors for LARP Alliance, a nonprofit organization dedicated to outreach and education of larp. They have regular fighter’s guild practices all around SoCal on the weekend. On January 16, for example, Adrianne (VP of LARP Alliance, technical consultant on the Paul Rudd movie Role Models) and I will be at a seminar in OC for the Girl Scouts of America that will have workshops on voice acting, movement theory and improv, costuming, set design, prop building, and combat. In all seriousness, I can easily bring a bunch of weapons and instructors.

The latest video from the band A Hawk and a Hacksaw features boffer combat and weapon building.

The two main duelists are friends of mine: Rick, with the long black hair and barbarian outfit, is the president of LARP Alliance. Tony, the guy in armor, is relatively new to larping.

Finally, I don’t think this larp documentary is out yet, but I’m the guy in the suit in the first ten seconds of it. Rick and Adrianne of LARP Alliance are as well.

Keep playing!

Aaron”

January 20th at Crashspace. Robert Pratten will demo and discuss his new platform, Transmedia Storyteller!

I’m maintaining an active list at the page below:

http://metascott.com/transmedia-events/

************************************************************************************************************

Having just learned of a new transmedia startup from across the pond, I thought it might be helpful to collect the various URLs for the meetups I’m aware. Happy to list others if you want to contact me with the information!

[Sorted alphabetically by Country/City]

USA – Atlanta, GA
Atlanta Transmedia (Google Group)
Founder: Brooke Thompson

USA – Los Angeles, CA (USA)
Los Angeles Transmedia Meetup (Google Group)
Co-founders: Jay Bushman and Scott Walker

USA – New York City, NY
Transmedia New York Meetup (Meetup.com)
Founder: Aina Abiodun

USA – San Francisco, CA
Spoilrr (Meetup.com)
Founder: Robert Pratten

France – Paris
Lost in Transmedia (Google Group)
Co-Founders: Karine Halpern and Tom Maillioux

GLOBAL – Paris, France / Montreal, Canada
Transmedia Ready (Meetup.com)
Founder: Karine Halpern
Co-Founder: Pierre Côté