(1) Multiple rabbit holes – Total Recall (2012)
Walking in the Upper West Side, I spied a billboard: “Tell us your fantasy. We’ll make it real.” Intrigued, I took out my phone and entered the website listed at the bottom of the poster. There I received the following message: “We’re sorry – This content requires Adobe Flash Player.”
This was a frustrating-no-flabbergasting user experience. And one that just should not be happening in a 2012 transmedia campaign for a summer blockbuster. When I finally got around to looking up the site at home, I found a compelling (but limited) Surrogate-esque storyworld. The next day I saw another billboard in Greenwich Village – “Beware of Rekall: Don’t Let Them Blow Your Mind” directing me to a different website.
This one actually worked on my phone, and with an aesthetic reminiscent of the recent Internet Blacklisting Bill campaigns – featuring a dot org url and a censorship theme. Here, audiences are targeted in a smart way with regard to the billboard placement – certain neighborhoods in New York definitely evoke a certain ethos. This is about knowing the audience and creating multiple rabbit holes – or entry points for them to follow. Transmedia campaigns need to employ multiple mediums to deliver a message – each adding a unique contribution to the development of the story. It s about engaging the audience, drawing them in, and rewarding the curious and loyal.
(2) “This is not a game” philosophy – Prometheus (2012)
Like the “No Rekall” mock Public Service Announcement, a large part of transmedia storytelling is creating a believable fiction – a credible alternate reality. In some of the best cases, the storyworld blends with Real Life so seamlessly that we don’t even know when we’ve entered the rabbit hole (or are playing a game). Take Peter Weyland’s 2023 TED Talk. First glance, this appears to be bonafide TED Talk – it is posted on TED.com, after all. This was the first time TED used its platform for promotional purposes – fans didn’t see it coming.
This move brilliantly demonstrates the “This is not a game philosophy” by transcending the “rules” – what we expect from a “game” – guidelines, pieces/equipment, a playing field, and defined outcome. By blurring the boundaries between game and reality- we enter the immersive world of the alternate reality game.
(3) Here we are now, entertain us – A.I. Artificial Intelligence (2001)
Alternate Reality Gaming was born on the Internet, combining interactivity and storytelling to create a truly immersive storyworld. The classic example is the well documented Jeanine Salla, Sentient Machine Therapist, from A.I.
Starting with this name and intriguing title listed on the film poster curious fans were drawn into a highly complex interactive game so large it is simply referred to as The Beast. Leaving trails of breadcrumbs, clues, for curious fans to discover and advance, this alternate reality game pushed the limits of interactivity. The boundaries of the game were unknown. The platforms, playing field, and outcomes were all out there waiting to be discovered and developed.
The fact is, going to a site and pushing a few buttons isn’t going to entertain us anymore (if it ever did). We want to be immersed. We want to use our brains. Our imaginations. We want to work together. We want to contribute. Here’s the key: for effective transmedia storytelling, meaning has to be designed by the audience as much as by the creators.