i feature TRANSMEDIA STORYTELLING
New ways for kids to look at the world It’s been some years since children’s broadcasters started to move into the multiplatform world. These days the buzzword is transmedia. So how much has really changed, and what does it mean for kids’ content? Rachel Murrell finds out
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ODAY every kids’ show has its own website and downloadable episodes on every conceivable platform. Many can boast at least one app as well. But how far has this genuinely transformed storytelling on television? Is anyone making money out of it? And is it going BRB’s Zoobaboo — to change the way we do business at MIPCOM? from TV to app It depends who you ask. NHK is exploring interactivity with Bitworld, a cross-platform entertainment project for kids that combines a dramatic quest narrative with studio games. Four times a year NHK runs special editions in which viewers play an online game in real time to rescue the character on the television. “Players at home can genuinely influence the story,” says NHK head of international programme development Kazumasa Iida. “Two endings of the drama are prepared and even the producers don’t know what the outcome will be.” Each special edition sees over 100,000 kids participate in Schwartz says that with FME’s next two kids’ shows — boys’ Japan. “We are learning how to motivate children to want action adventure series Monsuno and pre-school adventure to do the online game to save the character, we’re creating animation Tree Fu Tom — the focus is firmly on getting the new games, and we’re ensuring the capacity of our servers story right for television before developing the digital eleso that we don’t let the viewers down.” ments. And it’s an approach he’d commend to others. NHK is now working on Phi Brain, an animated series “People pitch me transmedia shows all the time,” says about a high school boy with exceptional ability to solve Schwartz. “But so often they miss out the critical element: stopuzzles. Phi Brain will be part of Anime Mileage, NHK’s ry. If there isn’t a great story at the heart of it, it won’t work.” rewards scheme that rewards viewer loyalty with excluArne Lohmann, director of cosive behind-the-scenes movies, production and development, cast interviews, and additional children and youth at ZDF animation. Enterprises, is equally sceptical “We now work with Sander Schwartz, head of about the revenue-making potenbrands, publishing children and family entertial of online games. “The online tainment at FremantleMedia companies and toy elements help to build and extend Enterprises (FME), sees transthe brand,” he says. “But our main companies directly on media as primarily a markerevenue drivers are television games without any TV” ting tool. “There’s been a great shows. We see games as mainly Carlos Biern, BRB Internacional deal of hype around the signifimarketing, and most are free. cance of transmedia,” Schwartz “The games have to fit the brand,” says. “But for me, transmedia Lohmann says. “The website for enables producers and creators to take their brand to new The Elephant Princess, for example, allows the user to mix places to reach audiences. Until there’s a viable business their own songs and is designed for sharing. It doesn’t make model, it’s an additional element, not a core one.” money, but it’s great marketing.” Similarly, with the Dance
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magazine I September 2011 I www.mipjunior.com