transmedia adaption skyrim

A Transmedia Adaption – Skyrim

Bellyfeel’s ongoing series looks at ways of applying a transmedia approach to a best-selling game, ‘The Elder Scrolls V: Skyrim’. Epic This epic saga from game developer Bethesda is perfect for transmedia adaption because the existing storyworld that houses five games plus many expansion packs is rich, deep and exhaustively detailed. This enables the generation...
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immersive storyworld

Skyrim – An Immersive Storyworld

I am not a hardcore gamer by any stretch of the imagination but when I play the role playing game ‘The Elder Scrolls V: Skyrim’ the hours fly by because I am totally immersed in a truly epic storyworld – a planned one hour session effortlessly turns into five hours or more. ‘Skyrim’ is a...
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Transmedia – Let’s Stick With It.

I keep hearing about people in the transmedia production business who are still worried about calling what they do ‘transmedia’. It surprises me that there is such a lack of self-confidence amongst practitioners, many of whom are transmedia pioneers. I suppose the worry is that ‘buzzwords’ come and go,but to me, transmedia does the job,...
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A Transmedia Adaption – GB84

In Bellythink’s ongoing series of transmedia adaptions, here is a suggested approach as to how to make a transmedia adaption of David Peace’s 2004 novel ‘GB84’. David Peace wrote the acclaimed ‘The Red Riding Quartet’ which was adapted for television by Channel 4.   The Strike According to the jacket blurb, the miners’ strike in...
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Digression: How To Use It In Interactive & Transmedia Storytelling

As an interactive and transmedia writer with a screenwriting background I find myself exploring novel writing methods more and more as I search for ways to deliver effective transmedia narratives. One such method that fits into the transmedia storyteller’s toolbox is ‘digression’. Jumping Digression means a departure from the subject, course or idea at hand;...
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Storyworld & Point Of View

At Bellyfeel we are currently writing a new native transmedia drama that is character driven. In the story as we have it so far the audience spends most of its time with a single character – the hero. From his lowly position in the fictional society he listens and comments on the events that happen...
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A Transmedia Adaption – A Clockwork Orange

When a screenwriter adapts a novel for the screen they invariably cut large quantities of the author’s material as it does not contribute to what the screenwriter has identified as the main narrative drive. They have 90 to 120 pages to tell a story that may have been written using hundreds more pages.   Adaption...
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The Star Factor

I wonder who the first true transmedia star will be? Of course this won’t happen until transmedia storytelling is accepted and understood as a legitimate form in its own right by the big players of traditional media – talent agents, film and TV production companies, broadcast organisations and the stars themselves.   Mainstreaming To make...
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