FORBIDDEN CITY - TRANSMEDIA CAMPAIGN by Stone Trademark

TABLE OF C INTRODUCTION 4 WELCOME TO THE FORBIDDEN CITY 6 MINOR TRANSMEDIA STORYTELLING 7 LUMEN CREATIONS 8

PRE - PRODUCTION 10 INTERNAL ANALYSIS 12 EXTERNAL ANALYSIS 16 TARGET GROUP RESEARCH 18 OBJECTIVES 20 BUDGET 23 KPI DASHBOARD 24

TREATMENT 26 BACKSTORY & CONTENT 28 SYNOPSIS 32 CHARACTERS 36 USER JOURNEY 46

DESIGN 48

CONTENTS PRODUCTION 58 WEBSITES 60 SOCIAL MEDIA 63 MOVIES 68 LIVE EVENTS 92

POST - PRODUCTION 94 REPORTS 96 INDIVIDUAL EVALUATION 114 LESSONS LEARNED 122 ADVICE FOR THE FUTURE 125

ATTACHMENTS 128 ACTION PLAN 130 ANALYSIS 134 SCRIPTS AND MEDIA 160 CALL SHEETS 180 USER JOURNEY 182 FULL ASSETS LIST 189

INTROD

DUCTION

WELCOME TO THE FORBIDDEN CITY

Dear readers, This is the end report for the transmedia production ‘Forbidden City - Chapter 2’, which is an extension to the first story and concerns the sequel of chapter 1 of the Strijp-S story. This assignment was given to us primarily by the people behind the minor Transmedia Storytelling, namely Eefje op den Buijsch, Maaike Rijnders and Philip Corsius. Together with our client Cees-Jan Mol we were assigned to create a transmedia campaign in order to generate more attention to the area of Strijp-s, known to be a melting pot of creativeness, design, technology and much more. In this report we describe the entire process, from brainstorms, to long filming days and nights full of editing. We hope you enjoy our journey and would like to thank you for all your help and support through our minor.

K C A B G BRIN T H G I L E TH

Nicolai Hoier Monica Samson Loïs Siroen Jordy Slenders Stijn Verhagen

MINOR TRANSMEDIA STORYTELLING

This transmedia production was created by five students attending the minor Transmedia Storytelling at Fontys Academy for Creative Industries. The main subject of the minor is telling stories that spread on multiple media channels and require participation of the audience. Our assignment consists of developing and executing a transmedia production for a client, who has worked with this minor last year as well. Our production is the second chapter of a project he commenced with other students from this minor, called ‘The Forbidden City’. We used their story and expanded it with a second chapter. Our client is CeesJan Mol, Platform Strategist & Alliance Developer at U-Approach, an innovative web start-up that develops web applications. He was last year’s client for one of the productions and he wants an expansion of the storyworld that was created last year. The production was called ‘Forbidden City’, a futuristic sci-fi where an eternal eclipse had transformed the earth into a dark planet. CeesJan is very enthusiastic and ambitious. During his briefing he made it clear that the production had to incorporate Strijp-S, the innovative area in Eindhoven where U-Approach is located. He wants us to create a ‘groundbreaking transmedia storytelling campaign’.

LUMEN CREATIONS

Our production company is called Lumen Creations. Legend has it, that when the dark forces of dull storytelling, boring experiences and villains of outdated technology join forces, five brave students will be summoned to fight for the survival of the great storytelling experiences. When teamed up, the students become powerful superheroes with powers such as creativity, quality, fun, effectiveness, imagination and great editing skills. One team, one quest, one ring to rule them all. We are here to save the world. No more, no less! Besides creating transmedia productions, we’re also the fictional company where one of the characters of our transmedia production has an internship. This company produces ‘light adaptations for a brighter tomorrow’.

lumen n (genitive luminis); third declension 1. light 2. (poetic) the eyes 3. (poetic) daylight 4. (poetic) brightness 5. (poetic) the light of life

PRE - PRO

ODUCTION

ANALYSIS INTERNAL

Before starting the production, we did an internal and external analysis. The internal analysis consisted of researching the previous chapter and looking at ourselves as a company. The external analysis consisted of researching the area of Strijp-S; trends and finally the target audience. The entire analysis can be found in the attachments.

VISION To have stories told in ways that surprises and engages people to question what a story is.

MISSION We want to create a memorable experience that tickles the brain and engages the audience to explore the story of “The Forbidden City” on different platforms. We want to take the audience on an emotional and sensational journey that motivates them to dig deeper into the story world.

CORE VALUES The values chapter 2 needs to stand for are: • Attraction • Free cultural space • Innovation • Cultural awareness • Spiritual- and self-actualization • Transformational • Connection

ANALYSIS

• Create artistic opportunities • Merge culture • Bring back/alive subcultures • Supportive • Engage

CORPORATE IDENTITY MIX Forbidden City is an unforgettable experience. Forbidden City is a transmedia production. Forbidden City is a bridge between the material and digital world. Forbidden City is about duality and possibility. Forbidden City is about the (industrial) past & future. Forbidden City is all about creating a fictional story world that can actually be experienced, in different ways and in different layers. A world in which the past and the future come together, supported by beautiful industrial locations and the use of technology and themes such as: light, mystery, adventure and duality. The one that experiences the Forbidden City (player/user) will be indulged into this story world - on digital media devices - by creating a smooth crossover between the multiple platforms world. One of the ‘Crystal Cities’, the term used to indicate six cities that carry a device that captured light during the story’s solar eclipse, is Eindhoven. The area is called STRIJP-S, the once abandoned (forbidden) area where Philips started their light (bulb) production company. This is the real-world area in which lays focus to bring the story even more to life.

ANALYSIS

UNIQUE SELLING POINTS • • • • • •

Pioneers in transmedia productions, especially for the city of Eindhoven Gratifies different kinds of (media) users Indulging story world Crossover between material and digital Real life location (Strijp-S) with compatible history for futuristic themes (industrial, light, mystery, discovery, inventions etc.) Use of the newest (media) technology

PPT FORMULA PROMISE: Forbidden City indulges you to the futuristic setting of Strijp-S. PROOF: Forbidden City is a story world that connects the past and the future with the use of the newest (media) technology and real life (industrial) locations. TONE: A crossover experience between the material and digital, in which light and the industrial feel are combined in a futuristic setting that holds themes such as mystery, duality and discovery.

CURRENT COMMUNICATION • • • • •

Website http://www.theforbidden-city.com/. Forbidden City has a website with seven subpages. These pages can lead to: The Game http://forbiddencity.cm.cr/. The Forbidden City game is made in Conductrr, an online platform to create apps. It is created in a way so that the user becomes part of the story. The player needs to solve ridles and problems in a cryptographic way, using hints & audio- and text messages. Unfortunately there are a lot of bugs in this existing prototype. The Beacon App, explanation of the story, a forum in which players can discuss and the site is loaded with some movie clips and pictures of what seem to be clues that fit to the game. The Beacon App http://www.theforbidden-city.com/?page_id=375. There was no way to try this in the current time-frame. The Beacons only worked for a short period of time during the pilot, so they were already out of order by now. Facebook https://www.facebook.com/forbiddencityNL * Twitter https://twitter.com/forbiddencitynl *

* Both social media channels were used for the attraction of the audience before the introduction of the pilot. After the start this was the way in which the makers updated their players with hints and additional clues.

ANALYSIS

EXTERNAL

BUSINESS IN THE STRIJP-S AREA The location has been the start off for many technological enhancements, such as: light (Philips, the most important similarity to the first layer of the story), media projects such as the invention of television and radio broadcasts, electronic music, sustainable art projects and so on. It should have a lot of attraction and meaning to a wide audience, so that people do not want to miss out on this. That’s why finding recognizable similarities in the real world is rather important in giving sense to the story parts and objectives. Ironically, we have to put up some borders in order to know with whom we’re dealing with. First to set things straight, we need to define who Forbidden City’s stakeholders are in order to see what this project can do for them or to start a collaboration with: • Entrepreneurs in Strijp-S o Starters o Bosch Security Systems o Daan Roosegaarde • Klokgebouw • SX • Natlab • Local government • Inhabitants of Eindhoven • Residents of Strijp-S • Time expenditure

L ANALYSIS

â&#x20AC;˘ Events o STRP Festival o GLOW Festival o Dutch Design Week

TREND REPORT CONCLUSION Imagineering is making values for the stakeholders visible and tactile. Value creation, emotion and experience. These are key concepts that are being applied nowadays to approach target groups. It is important to use these things to generate the ultimate experience for the audience, and it is something that is very much connected to Transmedia Storytelling. People choose certain products, companies or services because the experience is of most importance and they get emotionally triggered. Thematisation has been around for a while, but is the furnishing of a certain subject in a theme to create a positive influence on the feeling and the experience of visitors.

ANALYSIS

TARGET GROU

WHO TO AIM FOR To keep it compact and tangible we chose to aim for a target group within the reach of Strijp-S. And because it’s a district in Eindhoven it means that we first looked at the numbers and figures in the municipal in Eindhoven before deciding who to aim for. Very generally speaking: • • • • •

Gender: Men 60%, Women 40% Age: 18-30 Education: University or college university Field of work: Technology, Design, Art, Culture Characteristics: Involved, Curious, Business savvy, Eager, Social

(Eindhoven Buurtmonitor, 2015)

PEOPLE OF STRIJP-S People go to Strijp-S for its ongoing development on technology, fashion, culture, music, food, art and design. You can see that the ‘inhabitants’ are focused on the future and those who are interested in this are attracted to this part of Eindhoven. The entrepreneurs and visitors are mostly well educated and have a deep interest in philosophical life questions and debate about how the country or even bigger, the world will be in a certain timeframe. You can see them as the group of inventors of our time. This part of the Netherlands is the homebase of everything that has to do with technology improvement and is the ‘main capital of Europe’ when talking about technological intelligence.

UP RESEARCH

They are socially equipped and very interested in society. You might even say that they are fairly critical and want to help the society and environment further. And with their different approach of work they approach a crowd whose interest is high and would like to get involved in new fields of work. People come because itâ&#x20AC;&#x2122;s hip and happening and the location to be where something big is gonna be in the Netherlands (Eindhoven365, 2015). Of course internet is the medium most used when the target group is on their smartphones and apps like Whatsapp, Facebook, Instagram and Twitter have the most users. We live in a hasty world where people even donâ&#x20AC;&#x2122;t find the time to scroll on their laptop/computer and sit back. No, everything has to be found with one touch on the screen. TV for this target group is an almost old-fashioned medium and when used it is for a documentary or for entertainment. To get the attention of our target group we have to wake them up from their slave like use of their mobile phone. One thing could be a guerilla-marketing plan or a collaboration with Strijp-S; one of more the bigger companies or with festival GLOW. The element of surprise is still an effective one. This in combination with an online campaign could be a very effective approach.

IN CONCLUSION We need to address the entrepreneurs of Strijp-S to start a massive collaboration in order to get people to this thriving creative and cultural part the Netherlands. This people are crazy for innovation in anything that has to do with a creativity and culture, design and art, technology and fashion, food and music. So the best chance in making the project work lays in the business of the district and the people it will attract. In the combination of both lays the answer. It needs to be a melting pot of creativeness. Our entire analysis can be found in the attachments.

OBJECTIVES

OVERALL GOAL Our transmedia production is a marketing campaign to launch a platform for the creative industry. We want to show our client that people can be engaged through a storyworld, which actually serves as a metaphor for working together towards a brighter future. The production will now be aimed at Strijp-S, but it can be adjusted to serve different locations and target groups within the creative industry. Since our client is still working on the platform and it will not be finished when we actually end the production, weâ&#x20AC;&#x2122;re using LinkedIn as the platform, where we will create a new group.

ECONOMIC GOAL Getting at least 100 people to start the quest and use the first trigger and keeping 20 people engaged until the end of the production. Since this project is used as a marketing tool to generate audience for the platform, the main goal is expressed in an amount of users. Success indicator: 100 users at the start of the production.

USER GOAL We want the users to stay engaged as long as possible, so they will become a member of the platform. We want to have at least 20 members on the platform at the end of the production. The users will be triggered by all the puzzles, hints, clues and of course the engaging storyworld we have created. So for a user a goal is to finish the quest and satisfy their curiosity about how the story will develop.

CREATIVE TEAM Experiment with a never before tried multi-platform concept. Improve and develop our individual skills which everyone has set for themselves at the beginning of the minor. Create a transmedia production which can be altered and used for different locations which are similar to Strijp-S (for example Spoorzone or Verkadefabriek).

USER NEED The user needs to get satisfaction from the thought that their participation is needed in the Forbidden City. Their profile fits right in the place where innovation, technology and innovation comes together. The users need to get involved in the story of Eindhoven. It is an innovative area and the economic strength of the region existed from the good relations between companies and institutes. It offers many possibilities for creative people and companies. The Forbidden City requires users that want to participate in this story.

REFLECTION ON OBJECTIVES Overall goal: Due to the small amount of participants starting the production and losing them all along the way, we didnâ&#x20AC;&#x2122;t reach this goal. There was no one to create a group with, so we ended up not doing that.

OBJECTIVES Economic goal: Unfortunately we also didn’t reach this goal. Something which will come back in the chapter ‘Lessons learned’ is the difficulty of getting participants in the first place and then keeping them engaged until the end of the production. This was one of the things we should have thought about better int he beginning.

User goal: We were convinced the story would be engaging enough for participants. But after speaking to some of them, we discovered they didn’t understand what was expected of them. Looking back, some test pilots could have shown us this flaw and we could have changed the clues and puzzles sooner.

Creative team: Some of these we did reach. The production was a first for the entire group , so it was an experiment for all of us. In the beginning we made infographics depicting our individual goals. Most of us were keen to improve some skills such as design, editing and writing. Because of time pressure we all ended up doing what we were good at and didn’t reach these individual goals. The production can definitely be altered fot other areas, but there are some changes that have to made first, with the most important one being the improvement of the engagement design.

User need: We figured this goal has not been reached either, since the players we did have in the beginning, didn’t stay with us. Again a really big lesson for all of us.

BUDGET PRINTING 250 LUMEN CREATIONS BUSINESS CARDS

€ 50.00

ATTRIBUTES 4 MASKS UNKNOWN OUTSIDER

€ 4.00

FOOD AND DRINKS 2 PRODUCTION DAYS

€ 42.36

ACTORS ALLARD GEERLINGS

€ 25.00

GASOLINE PRODUCTION DAYS 60KM

€ 8.43

TOTAL

€ 129.79

KPI DASHBOARD FACEBOOK UNKNOWN OUTSIDER

TARGET RESULT

LIKES PAGE 20 11 LIKES/COMMENTS POSTS 10 0

FACEBOOK ALOYSIUS BARNHART LIKES PAGE 20 15 LIKES/COMMENTS POSTS 10 4

FACEBOOK LUMEN CREATIONS LIKES PAGE 50 70 LIKES/COMMENTS POSTS 10 7

INSTAGRAM ‘makethefuturebright’ FOLLOWERS 5 5 POSTS 2 2

WEBSITE LUMEN CREATIONS

VISITORS

250

CLICKS TO SOCIAL

254 2

YOUTUBE VIEWS

TARGET RESULT

CHANNEL LUMEN CREATIONS VIDEO 1: THE CONSPIRACY 200 166 VIDEO 2: FINDING THE DELAGATE 200 110 VIDEO 3: THE DEPARTURE 200 77 VIDEO 4: THE ARRIVAL 200 111 CHANNEL UNKNOWN OUTSIDER

VIDEO 5: LOCATING ALOYSIUS BARNHART

VIDEO 6: LUMEN CREATIONS 30 22 VIDEO 7: ABROAD 20 24 VIDEO 8: THE RETURN 20 12 VIDEO 9: CONFRONTATION 70 1900 VIDEO 10: CONNECT & INTERACT 50 12 VIDEO 11: DELIVERY 30 14

TREAT

TMENT

CHARACTER S HELENA

BASIC INFORMATION GENDER: Female DATE OF BIRTH: 5th of November 20?? PLACE OF BIRTH: Rotterdam HOMETOWN: Crystal City of Eindhoven

LOOKS EXTRA The one that is Neutral and stand between the two factions. She eventually gets killed by the Unknown Outsider.

Wise woman, age unknown since no one knows when she was born. She looks like a 40 year old woman but has to be older. But because of lack of light and the use of vitamin D, her skin doesnâ&#x20AC;&#x2122;t age and she remains to appear young.

ILLUSTRATION

DESIRES Let the two parties in Strijp-S (Keepers and Givers) work together and live together In peace to find a solution to get rid of the eclipse. Find a solution to the lack of light. Wants to be a good mentor for the city, because she thinks she knows what is good for the Crystal Cities and the rest of the world. Wants to find a way get rid of the darkness.

FEARS Is afraid the Running. It clears light will his disappear head. forever. Hisafraid Is studythe Industrial earth will Design. free e and the humans will go e tinct. Fears a (civil) war between the Keepers and Givers has a fear for violence and weapons.

CURRENT BEHA IOR Is respected by the Light Workers in the Crystal City of Eindhoven, because she has been an adviser to both sides in the past. However, because she did not fully agree with the ideals of either side, she never joined one of the two factions. Speaks up, will always tell the truth and hates liars. Her daily task is to create collaboration between the Keepers and the Givers. Wants them to work together. Behaves as a born leader and guards the peace in the Crystal City. Wants the best of both worlds for Strijp-S (knowledge of Keepers

Givers).

USER JOURNEY In the attachment you can find a bigger visual of the user journey below. Weâ&#x20AC;&#x2122;ve also attached the corresponding table in the attachment. On the next page is a piece of the user journey zoomed in. The square below shows the part which is zoomed in.

The user journey shows several layers. The first rings shows the user participation. A = action; R = reply and P = puzzle. The entire user journey corresponds with the user journey as described in the table in the previous chapter. The symbols on the second ring show on wich platform the media will be posted. The outside ring is the timeline.

DES

SIGN

DESIGN

DESIGN AE

This chapter is about our film production design. We based our design on the first chapter in the story of the forbidden city. Other media we used are Facebook profiles and three websites. In the chapter ‘Production’ these other media will be explained.

VIDEO 1: THE CONSPIRACY

Camera and editing In the first video we use the classic way to shot a dialogue scene, over the shoulder from the two actors and the camera steady. There is one footage where we break the classic style and that’s when the time machine gets build. The picture is shaking to visualize the powerful machine at work.

ESTHETICS

Color grading The outsiders place is a place with less light and a more basic lifestyle. To make this feeling of the darkness, we decided to use orange light. That makes all the pictures dark like a classic Rembrandt painting.

Sound and music Industrial background music, it changes when we see the close up of the book. Then we hear religious music. This to let the audience know how important the book is.

VIDEO 2: FINDING THE DELAGATE One of the biggest changes in this video from the original idea, is the high council. First we wanted to make a half circle of 3 people sitting with a table, in a dark room, with only light on their faces. We changed the design from classic sci-fi to a more natural style. We changed it because we wanted more contrast between the city of light and the place where the outsiders live. The style of the high council is inspired by spirituality and religions from the east.

Camera and editing In this film we used a lot of close upâ&#x20AC;&#x2122;s and footage from the Unknown Outsiders back. Thatâ&#x20AC;&#x2122;s because we wanted to introduce the High Council and the Unknown Outsider, but without showing his face and keep him mysterious.

DESIGN

DESIGN AE

Color grading Same as the Conspiracy video.

Sound and music In this video are we using a religious music mixed with electronic music, because we want to show the high council in a religious way, since they are the leaders who take all the decisions.

ESTHETICS

VIDEO 3: THE DEPARTURE In this scene we used a blue grading. We wanted to make a melancholic sci-fi feeling and decided to color grade the pictures with lot of blue. This also creates a huge contrast to the outsidersâ&#x20AC;&#x2122; place.

Camera movements In the third teaser, we built up a mystery feeling about the Unknowing Outsider. It was important for the story to keep this feeling, so we started the video with a traveling shot without showing his face(mask). In the dialog scene his mask is shown and the style changes to a classic dialog scene, with a tripod camera on both actors. In the fighting scene, the cameras change to handheld, to give the action scene a chaotic feeling.

DESIGN

DESIGN AE

Editing and special effects

We started with a long walking scene to build the scene up and to introduce the Unknown Outsider. The dialogue scene switches between the two characters. After the dialogue we go from normal editing speed to small clips to give the audience the chaotic feeling. To show the killing of Helena we fade to black and only hear her scream, so it is up to the viewerâ&#x20AC;&#x2122;s imagination to think what happened to her. To show where light came from and make the scene more sci-fi, we added a Blue Prism. The prism is also important for the story, because the Unknown Outsider needs the light from the prism to travel through time.

Color grading To get the right sci-fi feeling, we decided to use a blue color grading. This color makes the city melancholic and creates a contrast to the Outlands. It also shows the audience a future we want to change.

Sound and music Itâ&#x20AC;&#x2122;s not enough to use camera angles or movements to make a scene mysterious. The music in this scene is a huge part of the feeling we want to show. The scene starts with quiet electronic, industrial music. This kind of music is popular in the sci-fi genre. For example, the Matrix. The music changes in the fight scene to more dramatic music, to catch the chaotic feeling in the scene.

ESTHETICS

VIDEOS 4-8: THE ARRIVAL AND UNKNOWN OUTSIDER VLOGS

In the news video, we wanted to make a realistic news item with amateur footage of the Norwegian spiral of light. The unknown outsider breaks the news and asks for help. This scene is inspiring by Anonymous videos, because we want to make the same feeling, a mysterious man is he a good guy? Can we trust him?

Camera and Editing The first time we see the unknown outsider, the camera is on a tripod to introduce him. In all the other videos are we using handheld camera to make a realistic style. He is on a run and try to hide from the men in suits, so this is a way to make the film more realistic. In the videos are using the editing style call jump cuts. This style is normal for video bloggers.

DESIGN

DESIGN AE

Sound and music We desired to make these videos without music and only sound from location. We have only adding sound effects in the video, where the unknowing outsider can hear some people in the building.

Color grading In these videos are we using a dark/green color grading to make the scenes more mysterious. Here is an example:

VIDEOS 9-11: ALOYSIUSâ&#x20AC;&#x2122; VLOGS AND CCTV FOOTAGE We also used a realistic style with the professorâ&#x20AC;&#x2122;s video posts. The only change we have made in post-production is a small color grading, to make the colors in the pictures warmer. We have framed the picture in a way so the audience could see the screen on his working table.

ESTHETICS

We tried to make the CCTV footage as realistic as possible. We changed the frame rate to two frames per second, so we get this real â&#x20AC;&#x153;slow motion effectâ&#x20AC;?. Then we added TV waves/ noise, to get the real feeling. The mysterious footage should make some suspense for the audience.

PRODU

UCTION

PRODUCTION WEBSITES

LUMEN CREATIONS The transmedia campaign needed three webpages to give the followers a lead to go on further with the story. The important thing was that they gave a professional look, especially the Lumen Creations webpage for it was a fictional company. On this website there were a lot of links and clues to lead you to the Youtube webisodes as lumencreations.com was printed on the business cards we handed out during the Glow festival and near the train station of Tilburg.

www.lumencreations.com

ALOYSIUS BARNHART The personal webpage of Aloysius was made using Wix.com, an easy website builder, which contributes to the story because of the fact that Aloysius is a student and is not yet able to afford or make a really professional webpage. On this website the player needed to find the clue to find the professors workplace in order to tell the Unknown Outsider where he is able to find him. Also additional info about for example the pyramid could be find on the website.

www.aloysiusbarnhart.wix.com/abprofessional

PRODUCTION WEBSITES

CONVENTION OF LIGHT The last website was the light convention in Sydney and is also made by using Wix.com. This may look kind of easy and amateuristic, but a lot of conventions and smaller business use the webpage engine while still seeing the name ‘wix’ in the url. The site was created to explain why Aloysius was away for a couple of days and why the Outsider couldn’t find him.

www.conventionoflight.wix.com/2015edition

PRODUCTION

SOCIAL MEDIA

FACEBOOK We chose to use Facebook as the main social media platform, due to it’s spreadability. A page was created for the characters ‘Unknown Outsider’ and ‘Aloysius Barnhart’. Due to Facebook’s settings, both names were seen as not real, so a regular facebook profile could not be made. We set up the profiles as ‘fictional characters’, hoping the suspense of disbelief would make our players see past the fiction. We also created a company Facebook page for Lumen Creations, to add to the ‘realness’ of this company. This page was used to give the players clues about Aloysius’ wherabouts. The Facebook page of the Unknown Outsider led players to his self-made videos where he asked for the help from the followers to find the professor, Aloysius Barnhart. Throughout the production, players were asked to find out information about Aloysius Barnhart and Lumen Creations. Because we wanted the pages to be as realistic as possible, we also added extra information by posting posts that not necessarily where critical to the quests, but acted as additional content to get to know the characters.

INSTAGRAM On Instagram we posted the visual information participants needed to solve a few of the puzzles. The account was made by the Unknown Outsider when he arrived in 2015.

PRODUCTION

SOCIAL MEDIA

UNKNOWN OUTSIDER FACEBOOK PAGE

ALOYSIUS BARNHART FACEBOOK PAGE

PRODUCTION

SOCIAL MEDIA

LUMEN CREATIONS FACEBOOK PAGE

INSTAGRAM ‘makethefuturebright’

PRODUCTION

MOVIES WEBISODES

We made a total of eleven videos. The first three were trailers, which explained the backstory of the Unknown Outsider and how he came to come to 2015. The fourth video was the kickoff, in which participants were asked to send an email to the Unknown Outsider, to help him on his quest to find the professor. These first videos were posted on Youtube and shared on Facebook. Videos 5-8 were self-made videos by the unknown outsider, posted on his Facebook page, asking participants to find specific information on the professor. Video 9 shows CCTV footage from Lumen Creations, where the Unknown Outsiders is being taken away by two mysterious men in black suits. This video was shared by Aloysius Barnhart on his Facebook page. The final three videos are also posted on Aloysiusâ&#x20AC;&#x2122;s Facebook page, as the Unknown Outsider has been locked up and the story shifted to Aloysius Barnhart. We actually planned to post the three first trailers and the kickoff on the Lumen Creations website, since the leaflets let potential audience to this website. They would see the trailers and the kickoff when the countdown on the website was over. Because of the template and some more trouble with the website, we werenâ&#x20AC;&#x2122;t able to do this, so we had to create a Youtube channel for Lumen Creations and als shared these on our personal Facebook profiles. On the next few pages you can find an overview for each of the videos.

Ramon Wolf Franken Allard Geerlings

PRODUCTION

LIVE EVENTS

LIVE EV

Our story was totally set in an online world and we purposely chose to let it stay that way. There are pros and cons to organising a live event surrounding a transmedia production. The pros are obviously breaking down the barrier between fiction and real life and adding to you story’s credibility. But then there was the time pressure of having to produce the rest of the production and adding a live event, which might not even attract that many people was too big of a risk to take. However, we did hand out business cards on the Saturday of the Glow Festival in the city of Eindhoven and in Strijp-s during Glow Next. On the business cards you can see the website which was the first trigger and entry point for people to dive into our transmedial rabbit hole. There were a lot of people and we used that wisely to distribute the cards. We planned to go live sooner than we actually did, so the cards were distributed three weeks before the production went live. This may have caused potential participants to not participate. That’s why we distributed more business cards in Tilburg later on during the production. While distributing the cards, we pretended not to know a lot about the company or what was happening on the 29th, to keep it mysterious and play with people’s curiosity. On the next page you can see the front and back of the cards. The design matches the website of Lumen Creations.

VENTS

POST - PRO

ODUCTION

POST-PRODUCTION

REPO

REPORT ON THE TRANSMEDIA PRODUCTION PLANNING Our transmedia production was planned to start on November 29th. To attract an audience, leaflets were spread during Glow festival in Eindhoven with this date on them and our website. The website consisted of a countdown, which indicated how much time was left until the three trailers and the kickoff went online. On this day the website had 254 visitors, but the website wasn’t finished on time nor was the kickoff video. This has probably resulted in a big loss of our audience. When we were live we changed a few release dates of the movies. Sometimes because they weren’t finished and other times changes were made, but not communicated.

PARTICIPANTS A total of eight players started the production, but no one finished the story. There are several reasons why this happened. One of the players found the story too complicated and didn’t understand what she was expected to do. Another reason could be the high engagement needed from the players in order to follow the whole story and get all the clues. During the development of the production, we chose to use the videos as entry points and recaps of the story. One player mentioned that this was a bit of an anticlimax, since the videos gave away the answers to the puzzles and clues. This lowered the motivation to solve them.

ORTS

MEDIA CHANGES Before we started production, we wanted to use both YouTube and Vimeo to post our videos on, but we only used YouTube, due to the maximum file size allowed on Vimeo. We focussed mainly on the movies when we started production. Our first four movies were quite a lot of work and we all needed to help out when shooting those. There were production plans made, but on set many changes were made.

REPORT ON THE KEY PERFORMERS INDICATORS The Key Performance Indicators measure the success of the transmedia-production and the progress towards strategic goals. The KPI-dashboard of the Forbidden City project is based on the results from the different media we used to engage our players. There is a total of 21 Key Performance Indicators. 6 Key Performance Indicators were reached. It does not seem that much, but we were pretty close when it came to predicting the numbers and receiving the actual results. Big lessons were learned regarding the use of media and how to engage users. Each medium that we used will be evaluated on the next pages. Starting with the website of the company name we used as our main platform: Lumen Creations. The left column is the target and the right column is the result. We have reached the number of visitors we wanted on the website which was satisfying. But when it came to the user being on the website and clicking on the Social button that leads the user to the start of the transmedia-experience the numbers turned out very low.

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REPO

KPI - WEBSITES Starting with the website of the company name we used as our main platform: Lumen Creations. VISITORS

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CLICKS TO SOCIAL

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The left column is the target and the right column is the result. We have reached the number of visitors we wanted on the website which was satisfying. But when it came to the user being on the website and clicking on the Social button that leads the user to the start of the transmedia-experience the numbers turned out very low.

ORTS

In the screenshot on the previous page, you can see that the biggest percentage of the website visitors stayed on the home page and clicked the logo (24 clicks total). The second biggest amount was the ‘About’ button (5 clicks total). Followed by ‘Contact’ (2 clicks total) and ‘News’ (5 clicks total). We hoped to attract the users to the ‘Social’ button (1 click total) by mentioning that the story begins on Youtube. It does not seem that it had much effect for the user to get triggered to click further. It seems like the users we did get to play along were mostly connected to us by Facebook.

KPI - FACEBOOK The target amount of 50 likes on the Facebookpage of Lumen Creations has been reached. It was positive to see that people were interested in the content that Lumen Creations was going to come up with. We didn’t expect much from likes and comments on the posts but more from participation in the campaign. LIKES PAGE 50 70 LIKES/COMMENTS POSTS 10 7 Lumen Creations Facebook Page

The table on the next page gives an indication of how many people have seen the things that were posted on the Facebook page of Lumen Creations. The publications on the showed that the posts with the most likes had the biggest reach. Using links connecting to other platforms also worked better than just a regular post. The involvement gives an indication of how much people have clicked on items that were

POST-PRODUCTION The numbers in this table give an indication of how many people have seen the things that were posted on the Facebook page of Lumen Creations.

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It shows that the posts with the most likes had the biggest reach. Using links connecting to other platforms also worked better than just a regular post. The involvement gives an indication of how many people have clicked on items that were shared. The numbers show that photos worked well and also shared links.

ALOYSIUS BARNHART & UKNOWN OUTSIDER The number from the Facebookpages of Aloysius Barnhart and Unknown Outsider were expected to be less than the main page of Lumen Creations. This was because they were characters in the story. LIKES PAGE 20 15 LIKES/COMMENTS POSTS 10 4 Aloysius Barnhart Facebook page

The Unknown Outsider page was used for video’s that were made by him in the story. Because the page was a ‘Fictional Character’ category on Facebook it did not have the function to view the reach of the messages. By sending direct messages with the page to the users we tried to keep them going just in case posting messages was not enough. We came up with content to post and message people with. LIKES PAGE 20 11 LIKES/COMMENTS POSTS 10 0 Unknown Outsider Facebook page

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POST-PRODUCTION KPI - YOUTUBE CHANNEL LUMEN CREATIONS VIDEO 1: THE CONSPIRACY 200 166 VIDEO 2: FINDING THE DELAGATE 200 110 VIDEO 3: THE DEPARTURE 200 77 VIDEO 4: THE ARRIVAL 200 111 CHANNEL UNKNOWN OUTSIDER

VIDEO 5: LOCATING ALOYSIUS BARNHART

VIDEO 6: LUMEN CREATIONS 30 22 VIDEO 7: ABROAD 20 24 VIDEO 8: THE RETURN 20 12 VIDEO 9: CONFRONTATION 70 1900 VIDEO 10: CONNECT & INTERACT 50 12 VIDEO 11: DELIVERY 30 14

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Through the YouTube channel visitors were able to enter the transmedia journey of the Forbidden City. In the descriptions underneath users were given clues to continue with the story. The videos are also linked to each other so users can click to the next video. VIDEO 1: The Conspiracy Posted November 26th Itâ&#x20AC;&#x2122;s the year 2099. Outsiders Atlas and Ethon are finishing the time traveling device which will send the chosen one back in time to save the world. Follow the rest of the story on www.lumencreations.com

It is interesting to see that even a week after posting, the number of views was still rising. It was shared on Facebook to remind people that they are able to dive into the story by leaning back and watch the videos. This shows that sharing links on social media has a big effect on the views.

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VIDEO 2: Finding the Delegate Posted November 27th Still in the Outlands... The High Council prepares the Unknown Outsider, the chosen one, for his quest to the past. Follow the rest of the story on www.lumencreations.com

This video had the biggest reach on Facebook, as visible in the publications table. It has been shared and liked most.

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VIDEO 3: The Departure Posted November 30th The Unknown Outsider has almost reached the prism, but there is one person standing between him and his destiny: Helena, the protector of the light. Follow the rest of the story on www.lumencreations.com

This video has not been shared much, it does not have as many views as the rest of the videos posted on the channel.

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VIDEO 4: The Arrival Posted December 1st The Unknown Outsider finds his way to 2015. Send â&#x20AC;&#x2DC;I am an outsiderâ&#x20AC;&#x2122; to unknownoutsider@ outlook.com and join forces! Follow the rest of the story on www.lumencreations.com

This video was shared when the campaign kicked off. People were asked to check out our Youtube channel to start the story. It had an instruction in it to participate. The rising of the views was mainly a few days after posting.

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Videos 5-8 were posted on a seperate channel than the first four videos. These are all vlogs by the Unknown Outsider himself and we therefore gave him his own channel. VIDEO 5: Locating Aloysius Barnhart Posted December 2nd Thanks to your help the Unknown Outsider has discovered the professorâ&#x20AC;&#x2122;s name. Send him a message!

This video has not been shared much, it does not have as many views as the rest of the videos posted on the channel.

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POST-PRODUCTION VIDEO 6: Lumen Creations Posted December 5th Need your help! Itâ&#x20AC;&#x2122;s about Lumen Creations!

VIDEO 7: Abroad Posted December 8th I need to reach the Professor very soon...

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VIDEO 8: The return Posted December 12th Almost there! But they are behind me! Somehow they know where I am all the time. Who are they??

The numbers of the videos from the channel of the Unknown Outsider is almost even. It is likely that these views came from the people that were still participating in the campaign. The numbers show that the videos were mostly viewed shortly after it was posted. The last three videos were posted on the facebook page of Aloysius Barnhart. Video 9: CONFRONTATION Posted December 15th Wow... Look what happened at our company Lumen Creations today, so strange... I actually found out that the guy being taken was there to look for me! Does anyone know who these people are?

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REPO

VIDEO 10: CONNECT & INTERACT Posted December 17th Need some help! Watch my video to find out! VIDEO 11: DELIVERY Posted December 20th Thank you so much for your cooperation! The amount of views expected from the videos on the Facebook of Aloysius was a little bit more than the Youtube videos of the other character, the Unknown Outsider. This because of the fact that the videos were posted directly on the Facebook so it was easier to click them. It was very surprising to see that we expected 70 views and it became over 1900 views. The video was shared 2 times and liked by a few people. It had some comments from German people so we were really wondering how that happened. It is quite an outstanding video, somebody getting pulled into a car by two men in black is pretty unusual and exciting to watch. That might have helped us getting attention.

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REPORT ON THE DEVELOPMENT PROCESS We started off by dividing tasks according to each and everyone’s qualities and field of expertise. We knew from the get-go that it would be difficult and too time consuming to make a plan in which the five of us could work on our improvement points with supervision from the experienced person. In the end we came to the conclusion that this was a missed opportunity, but nevertheless we had foreseen that it would have been too difficult in such a shot amount of time. Looking at the time we put into it, we see that we made a lot of hours in the two months before the project launched. We still had some work to do during the project but way less if we had to make all the products etc. while maintaining and controlling the project. However, finishing up the passes and the evaluation was quite of a hassle. This hassle occurred because we picked the day before handing in a pass or important work critical to the project for the day to put everyone’s input together and that was way too much to handle for one person. That was also the reason why we had to remake pass 1. Sure it was a team project and all of us knew what the other was doing or what the thing they were developing meant for the transmedia campaign. But combining all of the pieces of the puzzle and making a compelling and coherent document requires an overview and an overview requires time and space in your head. That we all take with us when doing future project. For Conducttr, we chose to put one person on it that would set it up and manage it. That person would know everything of the program eventually with help of the teachers/experts and could focus ‘almost’ only on making it work perfect. Looking back, we think we did good because we had a few adjustments with the program but none of them were of a code red for the project and the group member would fix it without a lot of problems.

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REPO

The making of the videos was a real group product for every single one of us was working together to make them a success and also if there were problems. Everyone had equally important tasks and we came with great solutions if we came across bumps on the road. Like cars or pedestrians driving and walking in the shot, searching for good places, having all the props, finding actors in very short amount of time. It all took some time but in the end the videos, in our opinion, are of high quality, especially for a school project. This is also a result of the hard work that was put into it while editing the videos. The hardest thing to do was to create an indulging engagement plan and create a buzz in order to lure people to the story. Of course we thought intensively to tackle this big issue but due to other work that was waiting on us we might have not given it the time it deserved. This also has to do with the little time we had. Weâ&#x20AC;&#x2122;ve seen that the engagement part is the hardest side of the transmedia triangle. In the end we still are proud of what we did in a short amount of time in many fields that belong to a transmedia production. We will build further on the lessons weâ&#x20AC;&#x2122;ve learned. Our light will be brighter in the future!

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ORTS

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The transmedia production JORDY

The transmedia production was very challenging and we did very good on specific points but we also could do a lot better. In total I think we did pretty good but it could be way more successful and the group dynamic should be more strong. The products and quality we made is definitely great considering it to be a school transmedia production. A lot of hard work was taken into it. The films look very professional and all of the puzzles are thought through. Story-wise, for the people who know chapter 1, we elaborate successfully and made the story more full. But a pitfall, so far as we now can see, is that both chapters are quite a handful and it’s difficult to tell the story in a compact and compelling way. We were thinking way too much from the inside and we did not consider the ‘outsiders’ (the ones who don’t know the story) that good. That’s a pity if you ask me. That brings me to the engagement part. It first of all starts with engaging people into the story, and if it’s hard to follow the story you already face a big challenge in dragging them in. If you see the puzzles or videos on their own you may think: what is this?, but I really believe that if you follow the story and put some effort in, the production is quite rewarding and gives you the feeling that we took good care of the story in a thoughtful way. If we had 5 instead of 2 months than we had the opportunity to put energy and time in all areas of the production and the engagement would be way higher.

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Key Performance Indicators I can be short and tell you that, looking at the KPI’s we failed and should have thought of better ways instead. Talking about it after it happened is always easy, of course. But we were trapped by thinking people would be interested themselves without really pulling them by the feet. We were quite stubborn in that way and we now have really taken notice that creating followers and engagers is the hardest part in a transmedia campaign. You can have the best products or you can have the best story but if you don’t have a good user engagement plan it is worthless from the beginning. All three of this areas have to be good in order to make a decent production.

The development process We had a lot of bumps on the way and that took a lot of energy of everyone. We set up rules but we did not really follow through on this and that is a shame. Also I think it’s a pity that we individually work on things were one person was good in. It’s bad that we didn’t learn the things we wanted to know. And also did the energy we had in the beginning isn’t

Summary STIJN

First of all: I can honestly conclude that this minor drove me to get the most out of myself. Compared with what I was used to, if it is about the amount of work that is the standard at our school. I always struggle when it comes to combining the above with working in project groups. And yet again, the last half year was no exception; there were some moments that I got important lessons about group com-

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INDIVIDUAL E

munication and everything that comes with it, such as discipline, quality, expectations and so forth. But my fellow group mates were absolutely nice companions. And in the end I think we all learned a lot about ourselves and the transmedia production that followed out of our combined force. I think we definitely succeeded and know what our important lessons were and are. Personally I learned a lot about the story theory and the way an audience would like it to be told. What works, but more importantly, what doesnâ&#x20AC;&#x2122;t? How to attract attention and what are the key factors if it comes to losing an audience in a live trail. Next to this I also improved myself in the way a proper video production should work. This covers the live actions recordings and working with an action/sci-fi story line. And I always love to make a nice effort when it comes to all the graphic and visual designs. I found the amount of time compared to the thing we had to not in balance. I think that the production value for the clients will rise when having more time. Maybe the production should unravel in parallel to the transmedia theory. Overall I think we did a good job! I have spent a lot of my time doing what I like to do, graphic, visual, and content/story design. I hoped for these and I was in luck to find them while following this minor. The way of working within project groups, as a subject, definitely was a main touch point for me. I always find that learning about myself, in such a way, contributes to a higher progress. And I know that I will adjust my behaviour to those factors.

Theory I really enhanced my knowledge when it comes to the way a story works. Iâ&#x20AC;&#x2122;ve read a lot of articles and saw a series in which Joseph Campbell deeply explains the relations be-

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tween fiction story worlds and the interference with reality. Compared with ancient believes, religions and nowadays society structures. Ofcourse Robert Pratten can’t be unmentioned. If I’m honest, I’ve only used his theory in a superficial way. But, it was a clear guideline when it comes to our production and its bible. For my essay I will deepen myself into the theory of Rachel Wagner. She wrote a lot about the combination of aspects of religion when it comes to creating believable story worlds. I am fascinated by the theme and theory of the suspense of disbelieve.

Extension The minor started when I came back of my incredible holiday last summer. Then I got to know that our first assignment was going to be about a movie that I already had seen for a couple of times. The Imaginarium of Doctor Parnassus. For me it had a lot of connection to the summer that happened before. By all means no coincidence and naturally I really liked the movie upfront.

Production I really liked the story as it was thought of last year and I think we made a pretty good storyline, when taking into account that it had no flaws when it comes to the theory about the negative capabilities and migratory cues that we had to begin with. I have putted a lot of effort in this construction. As mentioned before, I think we succeeded with our (live) production, but it definitely had more potential. This has multiple reasons. First of all, time definitely is a key ingredient. In my opinion there wasn’t enough to get the most out of it.

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Next to this it stays a difficult thing to work with different people having diverse qualities and standards. And last, but not least, I think that the minor does not have the proper high quality and technological resources and included knowledge with this to produce a state of the art transmedia production.

MONICA

We started this production with a lot of ambition and motivation. I personally was very excited about the assignment and about our client CeesJan. The story from last year had so many possibilities and I think we came up with a very interesting expansion of the first chapter. But as production started, I think we were all too focused on creating the actual media instead of coming up with ideas to have actual players. After a few feedback sessions we realized we needed to adjust our story a little bit, but this was too difficult and too late in the process. We already needed so much time to come up with a story and then making changes while still being in production was too much for five people. When making changes to a production like this, it will have consequences for everything and we were already having trouble communicating about the story as it was from the beginning. I noticed that after we had a few fallouts in the group, the atmosphere changed and we all lost our motivation a little bit. Then when the production went live and we had zero players, we all lost motivation and I just felt incredibly disappointed after all that hard work we did. We all missed deadlines during the production and weâ&#x20AC;&#x2122;ve definitely

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not reached as many people as we had anticipated. Despite the rules we set up in the beginning of the production, I feel like we could have been more strict with each other. I have definitely learnt a lot from this production and despite shit hitting the fan on many occasions, I still am proud of what we’ve accomplished in such a short time.

Report on the transmedia production LOIS

After lots of brainstorming sessions the complete story was there. Before that different project roles were divided. When developing the story it was important to keep thinking about the way the user was going to experience it. That was not easy, when you are completely into the story and coming up with the happenings in the timeline it sometimes makes you a little blind almost for the rest. I think we have come up with quite a big and sometimes complex story for people outside of the project. The treasure hunt aspect is a strong tool in my opinion. Although the campaign was very lean-in. I agree on the fact that maybe we have been expecting too much from our users. I am very happy about the quality of the video’s we made. It was also so much fun to be on a ‘film set’ and see the cool results of what we made and how professionally it was edited by the other group members. Of course we have experienced some troubles when there were different opinions about the stuff we had to make. There will always be different views when you work in a group of people, but the communication could have been better. I also feel like this was caused by the time pressure, we just wanted to keep going.

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INDIVIDUAL E

Report on the Key Performance Indicators Looking at the numbers from the KPI Dashboard I think we have been realistic about the numbers we were expecting. In the very beginning of the campaign we experienced that we underestimated the part where we had to trigger people to get in. Due to some problems in the group the motivation was sometimes gone. Instead of assuming things maybe to easily, a better quality of research might have helped. Also focusing more on the ‘getting people in’ part instead of the production is quite a big lesson for us.

Report on the development process As I look back on this project I see a very motivated team with members that are all very different characters with different qualities. Dividing the stuff may have caused too much people being busy with their own parts. This was mostly at the last part of the production, in the beginning we spent a lot of time together. I think we were mostly focused on delivering good quality when it came to the production. That kind of pulled the attention away from gaining more users. We did come up with some ideas to keep triggering people, but I personally experienced that this is quite hard in a short amount of time and a low budget. Also the ‘doing research for the sake of research’ is a cause I think. We tried to improve the research for the target audience, but even when we thought we were on the right track it was a challenge to really know what will trigger people, and most important; keeping them triggered. Later on in the project, when there was some stuff going wrong it had a big influence on the rest of the project when we were live. I do have the feeling that we have tried to make it work, but at some point we all knew that we had to come up with something to finish the project in a different way. The main thing for me is that even though the number of players was disappointing I have learned a lot of lessons and we have come up with content that was very much fun to make.

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Story world NICOLAI

I’m proud of our production and I think we make a perfect expansion of the existent story world. First I thought that it will be easy to make an expansion of an existent story world, but that was harder that I though. Because everything has to fit with the storyworld and that’s a hard one when we decide to make a time travel story. I have learnt lot in this part of the production and I think we could be proud of this part. But problems are our story is hard to get into, if you don’t know the first chapter. The first videos should have been more clear for the audience and be more alluring.

Production We have an insane ambitious video part in our production. With lot of ups and downs. There are always things there could be better, but with the less of time we have and with the film experience we have in group, we should be proud of this part. This is first time I have been part of a transmedia production, it was really exciting and I have learnt lot of lessons and I got lot of experience in this project. The most important is the way to drag people into the project, there will not be drag in with only a good story! This transmedia project has been a very interesting with lots of ups and downs. Maybe this project wasn’t that success I could wish, but I have learnt so much from this project.

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POST-PRODUCTION LESSONS

Group work Is not a secret that our group dynamic could have been better. I think we all have learn some important lessons about group work and how important is it to communicate and to keep all the agreements we have made as a group. For me was it a challenge to working with people who not working with film normally. Sometimes I forget that not everyone knows the “rules” and all the functions on set.

LESSONS LEARNED DOING RESEARCH Looking back, we would’ve changed the way we have done our research. Because this production was new to all of us, we found it difficult to decide what to actually research and what would be important information to have in order to make the production succesful. Instead of thinking ‘what is it that we need to know’ we went with what we were tought in the past two years in marketing and research. This resulted in spending a lot of time doing research for the sake of research, instead of focussing on getting the information we actualy needed. Another thing we should have focussed on more was figuring out which stakeholders in Strijp-S would be useful to work with. Not only for the production, but also to get more particiants.

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DRAG PEOPLE INTO THE STORY AND MAKE MEDIA SPREADABLE One of the things we have learnt is how important it is to drag people into a transmedia project. We have used too much time on the content and not on the spreadability. We started our campaign with three short films explaining the backstory. Looking back, we could have made the introduction shorter and therefore more spreadable. You can’t expect people to see four videos of background story before the story begins and our first three video productions were just too “heavy” to be spreadable. The fourth video was the kickoff and we realized that the first three videos were actually a rabbit hole for the audience to jump into instead of the introduction to the campaign. Afterwards we see that we spent way too much time and effort on these videos, since they only explain the backstory. So we have learnt how much work you have to put in the commercial part to make a buzz, the audience will not find you by themselves. As Henry Jenkins say “if it’s doesn’t spread it’s dead” and that’s the problem with our project. We didn’t have enough content people wanted to share with their friends. The only video that spread rally weel was the short CCTV footage which had 1,9K views on Facebook. Our starting video The Arrival video “only” had around 110 views.

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BALANCING ACTIVE AND PASSIVE PLAYERS Another problem was the fact that we only had one access point, because the campaign was a scavenger hunt, filled with clues and puzzles to solve. Participants needed to follow to entire story to understand it. If we’d made more entry points without losing the scavenger hunt attributes, we could have attracted more participants. But it has proven to be very hard to actually do that, without spoiling the answers for other players. This project was also too much ‘lean in’ for players. There was an action, reply or puzzle every day. We have definitely lost audience because of that. We should have found a balance between the active user and the more passive one.

TEST PILOTS One thing we really should have done before going live, was to use a little group of test players before launching. The reasons are that we could have found out which clues or puzzles worked and which ones didn’t. A few players explained that at a certain point they didn’t understand what they were supposed to do. We could have avoided that by testing our production beforehand.

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COMMUNICATION AND RULES We’ve also learnt how important communication and Scrum meetings are. There were a lot of miscommunications in this project, because we worked separate a lot. We have realized how important it is to meet every day and disuse all the challenges and tasks at hand. Time was also a big challenge. In the beginning we thought 3-4 months was a long time for this project, but it wasn’t. It takes a lot of time to get from the pre-production to the final release day. This was the first time for everyone to be in should a huge project, but also something we’ve learnt from. In the beginning we made a collaboration agreement, in order to use the same guidelines and know the consequences for not showing up or missing deadlines. We have not followed these rules good enough and many problems in our group wouldn’t have been there if we all had followed the agreement.

ADVICE FOR THE FUTURE We have spoken a lot about the lessons that came along during this minor. We had many eye openers about ourselves and the way we work within a group. But, we also had some critical revelations that were important for us when it comes to the content and dividing of the aspects that are included in the minor.

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ADVICE FOR T

TIME We all agree about the fact that the client production needs more time. If the minor would be set up differently there could have been more focus to the production. This in our opinion the most important part of the minor. And therefore is the most useful way to learn from and with it.

TECHNOLOGY The Fontys has some nice equipment for the execution of the minor. Such as television cameras and audio recording tools. But, it lacks the possibilities of practicing and producing with newer technologies that might be mandatory to produce an exhilarating user experience. People expect a lot.

THEORY Transmedia theory is far out one of the most interesting topics that weâ&#x20AC;&#x2122;ve had in the three years of studying so far. It has a tremendous amount of diversity and people can, in a different way, really develop themselves and their own qualities through this minor. It might be a suggestion though, to teach the theory in the same pace and as a parallel to the production. This might enhance the way the student absorbs the information and it might just push the value of the live execution to another level.

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GROUPS It is very important to let everyone decide for themselves which project attracts them the most. But we have seen that it is very important to divide the groups to the variable qualities of the total of people attending the minor. Make sure that they are evenly divided over all the groups and prevent groups from existing out of people with just the same qualities.

CLIENT We would have expected some more involvement from our client. He seemed more enthusiastic then we saw in his behaviour. We didnâ&#x20AC;&#x2122;t feel that he was trying to be a part of it. But then again, it could be a time pressure thing for both sides. It could be an idea to offer just one client to the entire class and let everyone make a production for the same client. We bet it would be fun to see the entirely different story worlds the groups come up with for the same assignment.

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ATTACH

ACTION PLAN

ANALYSIS

SCRIPTS & MEDIA

CALL SHEETS

USER JOURNEY

FULL ASSETS LIST

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ACTION ANALYSIS PLAN

Analysis report Forbidden city chapter #two: Bring back the light

by Lumen productions

Table of contents 1 chapter one 1.1 the eclipse 1.2 Five years later 1.3 givers, keepers and outsiders 1.4 the chapter lives on

2 Internal Analysis 2.1 About 2.2 Vision and Mission 2.3 Core Values 2.4 Corporate Identity Mix 2.5 Unique Selling Points 2.6 PPT formula 2.7 Current Communication Media 2.8 Business IN THE STRIJP-- AREA

3 External Analysis 3.1 DESTEP 3.2 Trend report 3.3 Trend report conclusion

4 target audience report 4.1 who to aim for 4.2 Time expenditure 4.3 Target audience conclusion

5 end conclusion 5.1 strategic options 5.2 goals

1 chapter one 1.1 The Eclipse

In 2094, the Earth was overshadowed by a permanent total solar eclipse. A gigantic magnetic field emerged in space and held the moon in place in front of the sun, permanently. This event, referred to as â&#x20AC;&#x2DC;the Eclipseâ&#x20AC;&#x2122;, blocked out all sunlight and covered Earth in total darkness. However, humanity was prepared for this. Aloysius Barnhart, a Dutch physicist, predicted this event 50 years up front. His warning was heard, and we started working on technology to capture light, so we could stock up on sunlight before the Eclipse would take place. Because what is life if there is no light in it? Through massive global funding, we were able to develop the required technology to both capture and distribute light to individuals. Unfortunately, we ran out of time to fully develop the program, and the machines we created could only be produced six times before the Eclipse hit. Therefore it was decided the devices, which we came to call Prisms, were to be distributed to one city on each continent, ensuring that there would be one beacon of light on every content. These cities were labeled Cities of Light, and its inhabitants were to be called Light Workers, for it would be their task to protect the remaining light in their Prism to keep human life intact. The six chosen cities were Tokyo, Sydney, Johannesburg, Eindhoven, Rio de Janeiro and Las Vegas, and they each got a Prism delivered to them.

1.2 Five years later

It is now 2099. Earth has been in the darkness for five years. While they are aware of their existence, contact between the Cities of Light has been cut off. Each city focuses on keeping life in their own society intact. The economy has diminished, money has no value anymore. Power and electricity are still present, but the cities are aware their resources will eventually be depleted. However their most valuable resource is light, which has become the new currency in the cities. Life outside of the Cities of Light is extremely harsh: there is no light, no power sources to make machines run and all fauna is slowly going extinct, making gathering food nearly impossible. The people who live here are called Outsiders, who are slowly succumbing to the madness of a permanently dark living environment.

1.3 Givers, keepers and outsiders

In Eindhoven, the City of Light in Europe, the Light Workers have split into two factions. On one side, there are the Keepers: strong and firm people, who favour organisation and strict rules above anything else. Their appreciation for structure and constitutional rules makes it hard for them to be open to new ideas. They feel they should be careful with their usage of knowledge, technology and the remaining light in the Prism for when they will really need it in a crisis situation. On the opposite side are the Givers. These people are very social and want to share everything they have with others, even if this has to be done through illegal practices. They have little to no hierarchy, which makes them pretty disorganized. These two factions openly object against the ideals of the other party and refuse to cooperate with one another.

In preparation of the Eclipse, the city council of Eindhoven built a huge wall around the city to ensure the safety of their citizens. When the Eclipse hit, the gates to the city closed down. No Outsiders are being allowed in the city until this day, giving the city its nickname ‘The Forbidden City’. The Prism in Eindhoven is situated in the Strijp-S district, making it the center of life. Light is the main resource and currency in all Cities of Light. The same goes for Eindhoven. Both factions of the city have agreed to distribute light from the Prism equally. However, the light inside the Prism is a finite resource, and one day it will run out, as there is as of yet no way to add light to the Prism. This constant depleting resource is like a doomsday clock, counting down the days left until there is no light left anymore for Eindhoven.

1.4 The chapter lives on

Both factions realize this, but each of them deal with it in a different way, which will forever change the way they co-exist. This is the way the first part ends. Now it’s up to us to add a new chapter to an interesting book. We are choosing for an online sequel in which the user has to help the protagonist in an adult scavenger hunt. Wondering how the story continues? Have a look at the treatment where everything is explained.

2 Internal analysis 2.1 About

‘Lumen Productions’ is a creative group of enthusiastic and dedicated students from Fontys on a mission to create an awesome transmedia experience at Strijp-S in Eindhoven. Legend has it, that when the dark forces of dull storytelling, boring experiences and villains of outdated technology join forces, six brave students will be summoned to fight for the survival of the great storytelling experiences. When teamed up, the students become powerful superheroes with powers such as creativity, quality, fun, effectiveness, imagination and great editing skills. One team, one quest, one ring to rule them all. We are here to save the world. No more, no less!

2.2 Vision and mission

Vision To have stories told in ways that surprises and engages people to question what a story is. Mission We want to create a memorable experience that tickles the brain and engages the audience to explore the story of “The Forbidden City” on different platforms. We want to take the audience on an emotional and sensational journey that motivates them to dig deeper into the story world.

2.3 CORE-VALUES

The values chapter 2 needs to stand for are:            

Attraction Free cultural space Innovation Cultural awareness Spiritual- and self-actualization Transformational Connection Create artistic opportunities Merge culture Bring back/alive subcultures Supportive Engage

2.4 Corporate Identity Mix Forbidden City is an unforgettable experience. Forbidden City is a transmedia production. Forbidden City is a bridge between the material and digital world. Forbidden City is about duality and possibility. Forbidden City is about the (industrial) past & future.

Forbidden City is all about creating a fictional story world that can actually be experienced, in different ways and in different layers. A world in which the past and the future come together, supported by beautiful industrial locations, the use of technology and themes such as: light, mystery, adventure and duality. The one that experiences the Forbidden City (player/user) will be indulged into this story world - on digital media devices - by creating a smooth crossover between the multiple platforms world. One of the ‘Crystal Cities’, the term used to indicate six cities that carry a device that captured light during the story’s solar eclipse, is Eindhoven. The area the device is situated is called STRIJP-S, the once abandoned (forbidden) area where Philips started their light (bulb) production company. This is the realworld area in which lays focus to bring the story even more to life.

2.5 UNIQUE SELLING POINTS • • • • • • •

2.6 PPT FORMULA

PROMISE: Forbidden City indulges you to the futuristic setting of Strijp-S. PROOF: Forbidden City is a story world that connects the past and the future with the use of the newest (media) technology and real life (industrial) locations. TONE: A crossover experience between the material and digital, in which light and the industrial feel are combined in a futuristic setting that holds themes such as mystery, duality and discovery.

2.7 Current Communication Media

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Website http://www.theforbidden-city.com/. Forbidden City has a website with seven subpages. These pages can lead to: The Game http://forbiddencity.cm.cr/. The Forbidden City game is made in Conductrr, an online platform to create apps. It is created in a way so that the user becomes part of the story. The player needs to solve riddles and problems in a cryptographic way, using hints & audio- and text messages. Unfortunately there are a lot of bugs in this existing prototype. The Beacon App, explanation of the story, a forum in which players can discuss and the site is loaded with some movie clips and pictures of what seem to be clues that fit to the game. The Beacon App http://www.theforbidden-city.com/?page_id=375. There was no way to try this in the current time-frame. The Beacons only worked for a short period of time during the pilot, so they were already out of order by now. Facebook https://www.facebook.com/forbiddencityNL * Twitter https://twitter.com/forbiddencitynl *

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2.8 Business in the strijp- area

The location has been the start off for many technological enhancements, such as: light (Philips, the most important similarity to the first layer of the story), media projects such as the invention of television and radio broadcasts, electronic music, sustainable art projects and so on. It should have a lot of attraction and meaning to a wide audience, so that people do not want to miss out on this. That’s why finding recognizable similarities to the real world is rather important in giving sense to the story parts and objectives. Ironically, we have to put up some borders in order to know with whom we’re dealing with. First to set things straight, we need to define who Forbidden City’s stakeholders are in order to see in what this project can do for them or to start a collaboration with: •

• • • •

Entrepreneurs in Strijp-S o Starters o Bosch Security Systems o Daan Roosegaarde Klokgebouw SX Natlab Local government

• • • •

ENTREPRENEURS IN STRIJP--S

Inhabitants of Eindhoven Residents of Strijp-S Time expenditure Events o STRP Festival o GLOW Festival o Dutch Design Week

- STARTERS These are the entrepreneurs who are aiming or already have a (small) business in the area of Strijp-S such as restaurants; design studios; ateliers; marketing bureaus; advertising bureaus; fashion

workplaces; technology labs and so on. Not only do they work on a professional base in real life but also online. They know that it often starts with internet in which people will do research before visiting Strijp. The interesting aspect to rent space in this area is the attractively low price you have to pay. It’s easy to see that the area welcomes creative business with possibly great ideas to begin in this innovative part of Eindhoven. Partly an investment to inspire people in or coming to Strijp and partly an investment in the value of the hip and happening district. The entrepreneurs are eager to thrive in the creative and cultural heart of Eindhoven and probably are willing to work with other companies or campaigns in order to attract people to visit the area. Keywords: Eager, Fresh - BOSCH SECURITY SYSTEMS Located on Torenallee, Bosch is one of the biggest leading international company in security/ safety/communication and offers products, solutions and services. With help of the product group Engineered Solution and Software it supports their international clients in design, contracting and implementation of complex projects. It’s safe to say that they’re experts in working with complicated software and can assist Strijp-S in handling the safety and security question. Keywords: Safety, Security - DAAN ROOSEGAARDE This man has an exposition in Strijp near the Natlab and is famous for his projects like the Smart Highway, Crystal and the Smog Free Project. He is known for bringing on exploring the relationship between people, art, space, and technology. In a black tunnel in the Natlab, where Einstein once worked, where Philips made their first lamps and were the first CD-rom was presented, lay the Crystals. Each Crystal contains LEDs that are wirelessly charged via a magnetic floor. Once visitors start adding, moving or sharing Crystals, the basic breathing of the Crystals will change. We will use Daan Roosegaarde as the person we want to base our protagonist of chapter 2 on. For the reason that he is the perfect embodiment of Strijp-S as he is also creatively diverse and takes on lot of subjects concerning the future. Keywords: Innovative, Global

KLOKGEBOUW

This imposing building is named after the three big Philips clockworks located on the top of the building which you can see when arriving Eindhoven from the north while riding the train. The former fabric (Philips made a synthetic plastic called philite) houses a dance academy, cooking workshops, theatre groups, music centrum PopEi, the Blue Collar Hotel and a musically-based education called ROC Rock City Institute. An important aspect of the building is that their keen on sustainability. There are solar panels on the roof as well as a moss layer to get particulates out of the air. Besides that it can host big events in one of the halls in the building and a lot of medium and small companies are nested in this huge construction. For the youth it is well known for their huge amount of music events that take place. Keywords: Events, Hospitality, Education

This part of Strijp is the center of sport, marketing and media. Where they used to fabric glass for Philips, they now know everything about sports marketing wise. Triple Double is one of the residents which work on marketing concepts b2b and b2c. They use sport to reach their communicative and commercial goals. The leading man is Bob van Oosterhout and is constantly thinking about ways to innovate sports and the SX building to be precise. Other companies are Golazo, the biggest sports marketing agency in Belgium, Energy Lab, a test centre for (pro) athletes , Red Bull, Rabobank Topsportdesk and many others. A new plan is to build the biggest sports library in the Netherlands containing over 3,500 books. SX works very closely with the local authorities of Eindhoven to be the leading place in Holland for a high quality experience in sports in combination with marketing. Together with Strijp-S they work on the principles of cooperation, sharing knowledge, innovation and growth. Keywords: Sport, Marketing, Media

NATLAB

This building used to be the Dutch section of the Philips research department in where they did fundamental research into lighting, electronics, physics and chemistry as well as computing science and information technology. The original facility was disbanded in 2001 and made a new start on an other location as the High Tech Campus Eindhoven. Nowadays the Strijp location focuses on being the place where science, technology and art meet each other. The place where Albert Einstein once lectured, where Dick Raaijmakers made fame with cutting edge electronic music under the name of Kid Baltan and where products like x-ray tubes, CD-ROMâ&#x20AC;&#x2122;s and cassettes were invented and where the first Dutch radio and television broadcast took place. Besides being a municipal monument it functions (after a thorough renovation) as a film theatre for Plaza Futura and Broet for independent film productions and as Baltan Laboratories for combining art and design. Keywords: Art, Design, Research

LOCAL GOVERNMENT

The municipal of Eindhoven is working very closely with Park Strijp Beheer in order to transform Strijp-S into the vibrant, high density urban part of the city it is/will be. They want to keep the Philips history alive in this area and are working together on letting it be the new dynamic heart of Brainport Eindhoven where residents, users and visitors find innovation. The city is known as one of the biggest technological municipalities of Europe and they like to keep it that way. Thatâ&#x20AC;&#x2122;s why Strijp-S is so important for Eindhoven and vice versa. One cannot function completely without the other in which we speak of synergy. This being an inspiring example results in massive attention of international press, the professional world, multinationals, rulers and networking organizations. And in that way it brings money on the table. By the way: The NS will change the name of station Eindhoven Beukenlaan near Strijp-s into Eindhoven Strijp-S in December 2015.

Keywords: Synergy, Vibrant, City Marketing, Inspiring

INHABITANTS OF EINDHOVEN

As been seen in the target audience chapter, there are more than 200.000 people living in the municipal of Eindhoven of which 20% are under the age of 20. The majority (62%) is not younger than 20 years and not older than 65 years. 70% of the households is childless and mostly a single person household. You can say that these people are focusing on work or have more spare time over than the average person. Looking at the Maslow pyramid that means that they can invest their time in self-actualization. By that they mean that you invest in your creativity, morality and the solving of problems. That is exactly what Strijp-S stands for: the top of the pyramid (prism). And the area is even becoming more important because of the cutting in subsidies for the arts en cultures. Strijp-S has to take the lead in preserving and holding the art in Eindhoven an can be seen as an example for the citizens in not only Eindhoven but all across the Netherlands. Keywords: Chances, Example

RESIDENTS OF STRIJP-S

You can already live in Strijp-S in one of the blocks like SAS-3, Anton and Gerard in a sustainable urban loft or apartment. And in the coming years new buildings like residential tower Condo, Blok 63, Space-S, Kashba and new studios in the Veemgebouw will arise. It’s clear to see that the creative area has a magnetic power on people that want to be part of the new kind of living; creative, sustainable, modern and urbanely industrial. The main reason is that there’s always something to do or will be, the vivacity and dynamic are great. The apartments are diverse in price and quality which makes it valid for every kind of person. But they all got one thing in common: being part of the creative heart of Eindhoven. Keywords: Dynamic, Sustainable, Urban

Events

STRP it’s a ten days-festival held every two years in March (next is in 2017) in Strijp-S full of spectacular art, experimental technology and electronic music. It’s a big exposition containing interactive pieces of art and design, an extensive dance program and a big concert. You can say that it’s a very wide passion for technology which is shared with others by guiding students on a tour, doing joint projects between students and senior professionals and giving an international conference in which artists and technologists give a look behind the scenes. STRP links art, life and technology with each other for a wide but especially curious audience. Experiencing and being part of it, is the primary goal. Keywords: Technology, Wide, Combi

GLOW

Held every year in the city of Eindhoven in the month of November and founded by Philips and city marketing bureau EHV365. Basically this free festival of lights enrobes the city in a world full of amazing and artistic light landscapes. It combines light with sound, movement and colors in high tech projections. The visitors grow every year with over 600.000 people who attended last edition. Besides the main route through the inner city there is GLOW Next which will lead to Strijp-S and is of a more experimental kind. They are interactive because it directly reacts on actions of the persons attending this route. The Forbidden City is very strongly linked with light or the absence of that. It’s clear to say that a collaboration or a guerilla act would prove very fruitful for the publicity of the project. Keywords: Light, City Marketing,National

DUTCH DESIGN WEEK

An annual event every last week of October about design, hosted in Eindhoven. It’s a nine-day event with exhibitions, workshops, seminars and parties at many venues like the Klokgebouw. With the help of hosting companies Philips and DAF it is the city’s goal to be known as the national industry- and design capital in which there is a profound base for innovation. The Dutch Design Week distinguish themselves by concentrating on designing (for) the future and emphasis on experimenting, renewals and cross-overs. They ask the designers to come up with problem solving work in order to lead the world by responding on important and difficult questions that society gives. The same goes for the Forbidden City; there is a problem that asks for an innovative and new solution. A further collaboration with Strijp-S will help both parties in a great way. Something big is happening in Eindhoven. Keywords: Design, Innovate, Platform

3 external analysis 3.1 DESTEP Analysis

Strijp- S is the creative center of Eindhoven. This area of the city is meant to be a space where people with a metropolitan lifestyle feel at home, where they want to live, work, shop and spend time. It’s about togetherness. They give people from around Eindhoven the opportunity to organize activities. Through those activities they reach new people and new target groups. Gradually they see if the target groups take possession of the area and they adapt the real estate accordingly. The type of companies are freelancers, small companies, designers, creative industry, innovation and technology. DEMOGRAPHIC FACTORS  Urbanization The city of Eindhoven is steadily increasing in population what means that possible relevant target groups are entering the gates of Eindhoven. This eventually will lead to business as the city planning is doing properly. (Eindhoven 365, 2015) Urbanization is not a modern phenomenon as you see it passing the course of history quite often. In the time we live in now the majority of people live in urban areas instead of rural ground. This also means that most cannot even do rural work and base their choice of education on a more global point of view. Also because of the internet we are heading towards being a global village. Of course this also will bring its negative outcome but for the Strijp-S area it is a good sign for the future. It means that they are on the right track and are walking ahead of the current.  Growth of one person households Seventy percent of the households in Eindhoven is childless and are mostly single person households. You can say that these people are focusing on work or have more spare time over than the average person. Looking at the Maslow pyramid that means that they can invest their time in self-actualization. By that they mean that you invest in your creativity, morality and the solving of problems. (Business in the Strijp Area in this report) ECONOMIC FACTORS  Growth The Dutch economy has grown 0.2% since 2014 and there has been an increase of 29.000 jobs (CBS, 2015). National businesses have increased their profit to the level before the crisis. The number of investments has grown as well, especially in housing, new software and mechanics. The available income has also increased, which means people are able to spend more money than last year (FD, 2015).  Sharing Economy One of the biggest changes is the sharing economy. This has caused an increase in sharing, loans and re-use and combined with online shopping, retail is suffering and has decreased 1,5% from 2013 to 2014. The number of empty shops is still increasing (SIOB, 2014). People are not satisfied with just a physical store. Customers expect a multichannel strategy where they can be in contact

with the company 24/7. This is why stores need to focus on technological trends and understand that customers are influenced by their social network and followers (Libbenga, 2012). • Knowledge Economy The goal of Europe’s strategy (Europa 2020) from 2010 is developing the European economy like a competing ‘knowledge economy’. Learning for life is therefore important to the European Union, as to international organizations such as UNESCO and the OECD (The Organization for Economic Cooperation and Development). Holland wants to be a knowledge economy and aims for a high position on international level (SIOB, 2014). SOCIAL/CULTURAL FACTORS • Level of contentment Adults in the Netherlands grade their country a 7.5 out of 10 when it comes to contentment in life. A majority of 84% graded a 7 or higher. Woman are a bit more content than men and especially 25- to 55- year olds are less content than younger or older people. The amount of content rises with the level of education and a higher income (Moonen & van Beuningen, 2015).  Creative sector The government expects cultural organizations to show more entrepreneurship and find more ways to generate their own income. Inside the creative sector, many possibilities are actively explored and there are new ways to market cultural products developed (Klamer & Langeveld, 2011). Cultural organizations find their connections with people who are interested and like-minded. Completely outside of the market and without the government, valuable networks are created. There is social interaction and a general interest (sharing, creating, ect.) and a need to contribute. Different types of finances that come from these networks and connections are donations, volunteer work and crowdfunding (Klamer & Langeveld, 2011). Because of financial cutbacks, the cultural and creative sectors have turned more outwards. The public has gained a more important role in financing the cultural sector and therefore the importance of culture and the creative sector has to be in the spotlight. Quality is the key principle. The public has been taken into account and listened to more, but it’s important to listen to their needs without losing artistic value (SIOB, 2014). • A (new) digital gap When it comes to being able to use digital information a gap has always been present between different user groups. This gap use to be determined by access to the internet, which was connected to the social economic status of the household. A lower status meant less internet access (Notten et al., 2009). Nowadays almost every household in the Netherlands has internet access and the amount of mobile online devices is still increasing (CBS, 2012). The new digital gap is threatening to appear between higher and lower educated people and it has more to do with differences in strategic and substantive skills than online access. Internet offers many economic and social opportunities and especially higher educated people use these to achieve their goals. Lower educated people however, generally lack the skills to use internet this way and will be less capable to improve their status and position in society (Van Deursen & Van Dijk, 2012; Gillebaard et al. 2010). In the future there will still be many groups incapable to keep up. Since many services are being digitalized, there will always be additional needs for these groups of people within the community (Gillebaard & Vankan, 2013). 

Innovation

Eindhoven has its own city marketing company called Eindhoven365. Their goal for the next five years is to be in the top 10 of innovative regions in the world and in the top 3 of Europe. Through city marketing they stimulate, support and facilitate initiatives, collaborations, innovative force, inspiration, knowledge and content in order to reach this goal. They like to say that they are not busy on city marketing but on city making instead. They use a strategy called TDK: Technology, Design and Knowledge and in their belief it made the city to the globally innovative municipal it is today. EHV365 believe that it works like a magnet on talents, students, entrepreneurs, start-ups and internationals as well. It is actively involved in planning where different groups of people are going to live or work in order to mark each district with its own specialty. The same goes for Strijp-S where they want to locate the innovative people as they are likely to interact and or collaborate with each other (Eindhoven365, 2015). TECHNOLOGICAL FACTORS  The senses Sensory perception, or the senses, are more and more used as a base for exchanging information. Not only texts and language, but video, shape and touch seem to be effective additions to communication possibilities. Visualizations help to understand and comprehend difficult situations or developments. As the amount of data growths exponentially, the use of data visualization increases. The Big Data trend makes it necessary to develop (visual) applications to digest and offer data in a better way (SIOB, 2014). ECOLOGICAL FACTORS The EEA’s report The European environment — state and outlook 2010 (SOER 2010) drew attention to the urgent need for Europe to shift towards a much more integrated approach to addressing persistent, systemic environmental challenges. It identified the transition towards a green economy as one of the changes needed to secure the long-term sustainability of Europe and its neighborhood. Instead, living well within ecological limits will require fundamental transitions in the systems of production and consumption that are the root cause of environmental and climate pressures. Such transitions will, by their character, entail profound changes in dominant institutions, practices, technologies, policies, lifestyles and thinking (SOER, 2015). POLITICAL FACTORS  Power to the people There is a shift happening in public policy from a welfare state to a participation society. Citizens have a more active role instead of leaning on the government (Veldheer et al., 2012). Parallel to this shift of responsibilities from government to citizen, is a shift from responsibilities in between other government levels, such as municipalities and the social domain (SIOB, 2014).  Permits Strijp-S has a unique, strong and challenging character. This stimulates working in a creative and innovative way: not just for the people who work and live there, but also for the authorities making and guarding the rules in the area. Through the ‘Crisis- and recovery law’, the municipality helps develop the area, by facilitating and allowing outputs that touch upon the functions of the area. Strijp-S is an experimental location when it comes to this specific law. The municipality takes the challenge of this area seriously. For examples, necessary changes in procedures are made and there is a special expert team to facilitate connections between relevant partners and stakeholders (police, other municipalities, fire department

etc) (Altman, 2015). Mayor of Eindhoven, Rob van Gijzel has permitted Strijp-S to open their hospitality until 4pm instead of 2pm on Friday and Saturday nights. An exception is the building ‘Klokgebouw’ which may be open until 7pm (Zeeuw, 2014).

3.2 Trend Report IMAGINEERING

Value creation, emotion and experience. These are key concepts that are being applied nowadays to approach target groups. Companies have been searching for different forms of experience, from which the trend ‘Imagineering’ has arisen. Developing memorable experiences that appeal to one’s imagination have become an indispensible management key (Peters,2002). Imagineering is making values for the stakeholders visible and tactile. Stimulating interaction is important. This trend established because of the neediness of the consumer for experience. Consumers want more than a product, senses need to be stimulated. Imagineering is a combination of the words ‘imagination’ and ‘engineering’. It is a form of communication where the imagineer tends to reinforce the relationship between an organization and target group by experience. The message is not only transferred by text in a rational way, but also through other senses (Kuiper, 2011). Subjects that will feature with imagineering:  Innovation: developing a new concept that can be realised under conditions as technique, budget, target group and message.  Business: effective transmission of a communicative message to realise economic value.  Value economy: the target group experiences something that gives them a good feeling (Smit, 2011). STAKEHOLDERS Imagineering stands for an integral approach of developing experiences. This existed in the leisure sector but is nowadays being applied in many sectors. Imagineering is mostly interesting for engineers, developers of commercial concepts, designers and communication specialists (Nijs, 2002). The current consumer benefits from imagineering as well. People choose certain products, companies or services because the experience is of most importance and they get emotionally triggered. TRENDPHASE Imagineering started within the Disneyconcern where the engineers built the attractions and where imagineers are responsible for the underlying theme. Recent insights show that ALCOA Aluminum Company of America) as the first applied it differently. In 1942 ALCOA asked their employees to develop new creative products together that correspond to the needs of the market and contributed to the long-term vision of the organization. This was not asked from a specialized design team, but from all the employees of the organization (Broumels, 2011). Nowadays imagineering is being applied a lot, a few years ago it got clear that in the future more creative people that cooperate are needed to support organizations. The trend has reached its adult phase, it has been adopted by the mass and it is going to be developing itself on long term.

THEMATISATION

Thematisation is the furnishing of a certain subject in a theme to create a positive influence on the feeling and the experience of visitors. Themes can provide recognition and can be associated with

feelings as fun, tension or sensation. But themes also provide a framework and clarity. It is about responding to the feeling of people which makes the experience stronger. Because of that thematisation is an important part of many amusement parks. Thematisation has been around for a while when you look at amusement parks. In the sixties Gottdiener concluded that thematisation is going to have an important role in amusement parks. It has all started there and it has grown to a trend that is being used in marketing strategies. It has almost become a must. This is all about making sure people leave their daily life behind for one moment by creating a simulation that brings people into another place, time, world or culture. They can be free from their daily life and leave all the problems behind. On product level thematisation is more focused on connecting with the consumer. By adding a covering theme to a product it makes consumers get a stronger connection with the product. It becomes recognizable and creates a better brand connection. Thematisation exists on different levels. The most famous are the amusement parks, by adding a theme to an attraction and carrying the theme and its carriers forward. But it also exists at education level or product level. It is a covering trend that exists on different levels, at social level not yet very visible but it has growth potential. STAKEHOLDERS Because thematisation exists on different levels it does not have a specific target group. The goal is to pull people from their daily activities and let them imagine. On the level of theme parks the target group would be the visitors and the people that theme parks want to attract. On product level it depends on which target group has been chosen by the producers. So basically it is a major trend that can be applied on many different target groups. TRENDPHASE So thematisation creates connection but also recognition. Gottdiener already started with it in the sixties, one the one side we can say that the trend should be at its climax but on the other side the trend has many possibilities to be extended to a societal level. If we look at the innovation adoption curve of Rogers, the trend would be placed in the early majority because it still has growth potential. Even though it has been known since the sixties, it has not reached its climax yet.

POST-DEMOGRAPHIC CONSUMERISM

People are constructing their own identities more freely than ever. As a result, consumption patterns are no longer defined by â&#x20AC;&#x2DC;traditionalâ&#x20AC;&#x2122; demographic segments such as age, income, gender, location, family status and more. Younger and affluent consumers are still the earliest adopters of innovations. But now successful products, services and brands will transcend their initial demographics almost instantaneously. They are more open, more experimental and have fewer commitments. But now innovations will be rapidly adopted by any and all demographics. Society is now too fluid, ideas now too available, the market now too efficient, the risk and cost of trying new things now too low (led by the digital world, but increasingly the case for physical products too) for this not to be the case (Trendwatching.com, 2015) The reasons for this happing are: â&#x20AC;˘ Access; which means ubiquitous global information and collective brand familiarity create a universal post-demographic experience

• • •

Permission; the freedom has increased which forms post-demographic identities. Ability; experimenting and identifying with a wider variety of brands and products increases post-demographic personalization. Desire; the eroding connection between financial resources and social status is giving rise to a more democratic post-demographic status that changes the balance of power between generations.

How should executives and marketers navigate a post-demographic world? Four immediate innovation opportunities present themselves: • New normal; embrace and celebrate new racial, social, sexual and cultural norms. • Heritage heresy; be prepared to re-examine or even overturn your brand heritage. • Cross-demographic fertilization; look to foreign demographics for inspiration. • Hyper-demographic irony; focus on smaller niches of interest rather than circumstance. (Trendwatching.com, 2014)

3.3 Trend Report Conclusion

Imagineering is making values for the stakeholders visible and tactile. Value creation, emotion and experience. These are key concepts that are being applied nowadays to approach target groups. It is important to use these things to generate the ultimate experience for the audience, and it is something that is very much connected to Transmedia Storytelling. People choose certain products, companies or services because the experience is of most importance and they get emotionally triggered. Thematisation has been around for a while, but is the furnishing of a certain subject in a theme to create a positive influence on the feeling and the experience of visitors.

4 target audience report 4.1 who to aim for

To keep it compact and tangible we chose to aim for a target group within the reach of Strijp-S. And because it’s a district in Eindhoven it means that we first have to take a look at the numbers and figures in the municipal in Eindhoven before we dig deeper. Population of Eindhoven

Population the Netherlands, Noord – Brabant and Eindhoven (CBS ,2014; Brabant Databank, 2015; Eindhoven Buurtmonitor, 2015)

The percentages of Eindhoven are comparable to those of the Netherlands. Strijp-S focuses on many different target groups, which we should do as well. With a transmedia campaign it’s important to start focusing on a large group, since not all of the audience will actually explore the rest of the rabbit hole. So it’s best if when it comes to age, we don’t limit ourselves and use the same target groups as Strijp-S does.

Income Average income inhabitants Eindhoven (Eindhoven Buurtmonitor, 2015) * one person household * couple without children * couple with children * single parent * other households

The average spendable income (GBI) for a household in Eindhoven has increased by €600 since 2008, but it’s beneath the Dutch averag

Communicating the three trademarks of Eindhoven; technology, design and knowledge to the target audience is important to attract them to the area where it all should happen: Strijp-S. The companies, students, and people living there with this profile, should strengthen the recognizability of the area The target audience for the Forbidden City of Strijp-S will be:   

technological and innovative companies creative people students

With this target audiences it is important to focus on the people that are driven by technology, knowledge and innovation to empower the region. Also their associations with the area are most important in order them to rate Strijp-S as an attractive area for them. To be a top creative innovation region the people in Eindhoven need eachother and the city needs to be developed to the playground of growth. Mentality Model of Motivation The Mentality Model of Motivaction gives some insight in the experience world of different groups of consumers. The model contains groups of people that have common wishes when it comes to social subjects, job, consuming, aesthetics and living. The model comes up with interesting points for the segmentation of the groups of people in Eindhoven and it is based on the lifestyle characteristics. The type of people that are interesting for the Strijp-S area are people in the categories ‘postmaterialisten’ and ‘opwaarts mobielen’..

Source: Motivaction International B.V.

Postmaterialisten The ‘postmaterialisten’ are focused on self-development, have a social attitude and an international interest. Work needs to add something on a social level and they have interest in art and culture. Ambitions

• Self-development

• Solidarity and socially involved • Attention for immaterial values Political

• Engaged with politics • Reflective and critical • Solidarity and tolerant • Against commerce

Lifestyle • Systematic and principal • No interest in consumption and entertainment • Interest in art and culture

Work • Seeking balance between work and social life • Being socially useful

Social • Individualistic • Partners have their own group of friends

Socio-demographic • More women than men • Of higher age • More high educated • All incomes

Opwaarts mobielen This is a group that is highly interested in technological developments and have a positive prospect of the future. They tend to look for tension and kicks in their lives and it is important for them to fit in somewhere. New media applications are something they are very much interested in. Ambitions • Making a career • Gain social status • Be free of traditions Lifestyle • Materialistic • Interested in consumption and entertainment • Technology-minded • Impulsive and adventurous • Keeping freedom Social • Individualistic • Traditional roles • Tolerant

4.2 Time Expenditure

Political • Open to changes • International orientation • Desire for recognition and appreciation • Pragmatic Work • Career is driver in life • Gains them identity and status • Improving income Socio-demographic • More men than women • Relatively many young people • All educational levels • All incomes

With the launch of a transmedia production, it is very important to know how our presumed audience is spending their time and how they fill it in with the usage of different kinds of media. Though, with all the new technology and the wide variety of media options, most of all media users are still in favorite of using the standard ways of their submerging. The two favorites are still

the ways of listening and watching whatever media possibility. Besides the ways in which people use their media, it is important to know their media behavior during the entire day. In the evening there is a definite potential to reach a larger group of people, most of them spend their media expenditure while explicitly watching different media. The social media channels all have a different, more specific, user audience. Facebook and Google+ still lead with almost the double amount of users in comparison to Twitter. The other two major social media channels, Instagram and Pinterest, used for photography and inspiration, are mainly used by women. Almost every one of the young adult population (18-29 years old) makes use of social media channels (89 percent). Besides, we find that the age category between 18 and 34 (young adults) more often watch YouTube channels instead of normal broadcast television, independent of the gender. All of the social usage rises when it is about the age category between approximately 50 – 65 years old.

4.3 target audience Conclusion Very generally speaking: • • • • •

Gender: Men 60%, Women 40% Age: 18-30 Education: University or college university Field of work: Technology, Design, Art, Culture Characteristics: Involved, Curious, Business savvy, Eager, Social

People go to Strijp-S for its ongoing development on technology, fashion, culture, music, food, art and design. You can see that the ‘inhabitants’ are focused on the future and those who are interested in this are attracted to this part of Eindhoven. The entrepreneurs and visitors are mostly well educated and have a deep interest in philosophical life questions and debate about how the country or even bigger, the world will be in a certain timeframe. You can see them as the group of inventors of our time. This part of the Netherlands is the homebase of everything that has to do with technology improvement and is the ‘main capital of Europe’ when talking about technological intelligence. They are socially equipped and very interested in society. You might even say that they are fairly critical and want to help the society and environment further. And with their different approach of work they approach a crowd whose interest is high and would like to get involved in new fields of work. People come because it’s hip and happening and the location to be where something big is gonna be in the Netherlands. In this country almost everything is regulated and for every step you take there’s a paper you have to fill in, sort of speak. You can’t see the other side because of all the red tape and most of the persons are constricted in their limited thinking where control is one of their highest values. At Strijp-S it’s different because of their free-minded spirit and ability to see beyond obstacles. Of course internet is the medium most used when the target group is on their smartphones and apps like Whatsapp, Facebook, Instagram and Twitter have the most users. We live in a hasty

world where people even donâ&#x20AC;&#x2122;t find the time to scroll on their laptop/computer and sit back. No, everything has to be found with one touch on the screen. TV for this target group is an almost old-fashioned medium and when used it is for a documentary or for entertainment. To get the attention of our target group we have to wake them up from their slave like use of their mobile phone. One thing could be a guerilla-marketing plan or a collaboration with Strijp-S; one of more the bigger companies or with festival GLOW. The element of surprise is still an effective one. This in combination with an online campaign could be a very effective approach. In conclusion: We need to address the entrepreneurs of Strijp-S to start a massive collaboration in order to get people to this thriving creative and cultural part the Netherlands. This people are crazy for innovation in anything that has to do with a creativity and culture, design and art, technology and fashion, food and music. So the best chance in making the project work lays in the business of the district and the people it will attract. In the combination of both lays the answer. It needs to be a melting pot of creativeness.

5 end conclusion 5.1 Strategic Options

Putting it all together you can shortly state the following for the project: STRENGTH:  One of a kind transmedia experience  Collaboration with other innovators at Strijp –S through our client’s network  It should have a lot of attraction and meaning to a wide audience, so that people do not want to miss out on this. That’s why finding recognizable similarities to the real world is rather important in giving sense to the story parts and objectives  The pilot story and the location both fit perfect with the rapid evolution of new media devices and usages  The story of the Forbidden City has already made it’s pilot with a background and first chapter to it, this included different media usage last year  Forbidden City is about creating a story world that doesn’t differ from the real world. The base for this is an actual existing location: Strijp-S WEAKNESSES:  Target audience choosing other events or happenings to spend their time and money  Audience needs to have access to devices needed for the experience  Eindhoven is known for having innovative events, so it will be a bigger challenge to get an audience to our experience than at a different location OPPORTUNITIES:  Strijp-S attracts a lot of visitors because of its wide approach on being innovative. This is very useful for the Forbidden City in a way that what the project shows fits in the ‘image’ of Strijp-S  The trend Imagineering is taking a huge flight  Audience wants transformational experience and self-actualization  The TDK strategy (putting all innovative people and or businesses together) creates a arousing atmosphere for Strijp-S that is eventually good for making the project more believable THREATS:  The mobile generation is distracted quite easily  The digital gap (as mentioned in the trend rapport)  It is difficult to define consumer patterns for our online campaign So the strategic options we can base upon strong and weak points along with the opportunities and threats: 1 Use the wide range of knowledge in the district in combination with the client’s contact to create a widely supported transmedia experience.

2 The indulging and important history of the area together with the fame of the city’s known festivals Like GLOW and DDW set of a massively increasing brand awareness. 3 Set up a underlying message to the Netherlands that the cutting on funding the arts is not bringing Strijp-S down but rather make it the safe haven of acceptance, innovation and culture. The proof: the support of the people who reach self-actualization in a place where there is no dividing of media but a fusion of transmedia. There is nor a real world nor there is a fantasy world, there is only the world that YOU know.

5.2 goals

 Within five months’ time the transmedia experience need to reach 5,000 persons in a range of 75 km around the city of Eindhoven and of that group of 5,000 persons a number of 300 persons will interact and use the media channels.  This in order to stimulate brand awareness for the Strijp-S district in a half year time to raise the number of visitors to the district. With the rise of visitors business and/or collaboration in Strijp-S needs to grow with 25% in a year time.

 The underlying message to the target group is that the cutting on arts funding by the Dutch government is not bringing the city of Eindhoven down but is instead increasing the number of business relating to subjects like arts, design, technology etc. in the area of Strijp-S.  Amongst other channels there will be guerilla actions during GLOW Festival and the Dutch Design Week and the focus on getting the target group attention is to focus on the historical importance of the area of Strijp-S.  (Not very SMART, but actually smart) The persons will reach self-actualization according to the top of the Maslow pyramid.

bibliography

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SCRIPTS AND MEDIA

VIDEO 1: THE CONSPIRACY Filming date: 20/21 november Launch date: 26 november, on LC website DESCRIPTION: Two outsiders are standing near a steam machine where parts for the time traveling device are produced. They use an old book where the process is explained and are talking about the High Council picking an outsider to travel back in time. CHARACTERS: - Outsider 1: Atlas Male, 28. A worker who uses the steam machine to make a part of the time traveling device. He discusses the time traveling with his colleague. - Outsider 2: Ethon - Male, 26. Another worker who uses the steam machine to make a part of the time traveling device. He discusses the time traveling with his colleague. CONTENT: As the camera comes into the steam room, the outsiders will already have a conversation with each other. Then the machine will start to blow more steam and light will start to flicker. One of the outsiders grabs the final small part of the device and they leave the room. LOOK AND FEEL: Industrial, a lot of steam and lights, but still quite dark. The workers are a bit dirty and sweaty. They have been working together for a few years and they’re best friends. SCRIPT: ETHON (excited, trying to convince) "No I swear that’s what happened!" ATLAS (mocking) "Ethon, you’re so full of shit"

(CONTINUED)

CONTINUED:

2. ETHON "Why would I even lie about this? I saw a bird!" ATLAS "There is no way that you saw a bird, because they all died after the eclipse. You should stop eating those shrooms". ETHON "I wasn’t on anything! I was outside collecting wood and i swear to you, a bird flew by". ATLAS (cautious) "Hey, did you hear about the conspiracy?" ETHON (cautious) "Yeah Sophie was talking about it last night. Do you believe it might actually work?" ATLAS "Well, I’m no expert on time traveling, but I guess it’s the only way to fix this world." ETHON "To be honest, I’m a bit skeptical about this whole situation. But it all depends who they send. Do you know who the council chose?" ATLAS (joking a bit) "I have no idea. but whoever it is, he must have very big balls to do it". ETHON "Hahaha, yeah you’re right".

Steam machine creates more steam, more lights start to flicker. A small part falls out and Atlas picks it up and blows some dust off of it. ATLAS "Seems like the last part is finished. I wonder if this is actually going to work". (CONTINUED)

CONTINUED:

ETHON "I hope so. I’ll give it to the High Council." VIDEO 2: FINDING THE DELAGATE Filming date: 20/21 november Launch date: 27 november, on LC website DESCRIPTION: The high Council picks ‘the chosen one’. One member of the Outsiders is requested to go into the city to travel back in time. They install the internal time machine and his travel begins. They deliberate a plan to get into the city to get close to the Prism’s electricity. CHARACTERS: - Unknown Outsider: Male, 24. Confused about the situation and not sure if he is the one for the job at first. He changes his mind after the council convinces him and then is more confident. - High Council member 1: Male, 44. Serious and wise. - High Council member 2: Female, 37. Serious and wise. - High Council member 3: Male, 30. Serious and wise. - Doctor 1, 2 &3: All wearing bandanas in front of their mouths. POV from the UO, blurry. CONTENT: The Unknown Outsider walks into a dark industrial looking building. He enters a room where the three members of the High Council sit across from him on the floor in cross-legged position in a half circle. They are surrounded by small candles, which are placed in a full circle. They have a conversation about going back in time and the Unknown Outsider being the one chosen for this task. (CONTINUED)

CONTINUED:

We then see the Unknown Outsider waking up from a operation. The time machine has been implanted into his arm. LOOK AND FEEL: The Outlands are dark and the High Council has taken refuge in an abandoned old industrial building. The High Council is wearing robes and they sit on cushions on the ground. They live a simple live and don’t have much material possessions. They’re trying to convince the Unknown Outsider that he is the one. The Unknown Outsider is doubtful in the beginning, but soon realizes he is the only one up for the task. SCRIPT: HIGH COUNCIL MEMBER 1 (serious) "Welcome. You are one of our most valid members within this community. Therefore we will entrust you with something we’ve been working on for a while now". HIGH COUNCIL MEMBER 2 (serious) "You see, our world is in danger. We all know that light is running out and humankind has no way of surviving for very much longer". HIGH COUNCIL MEMBER 3 (serious) "We have discussed what solutions might change our faith, but we believe there is only one way to change this world. You must travel back in time and change the course of humanity." UNKNOWN OUTSIDER (confused) "Hold on....what?" HIGH COUNCIL MEMBER 1 (serious and excited) "My son, I know this might sound unbelievable, but it’s the truth. We have been developing the professor’s theory and our engineers have finally finished constructing the device to send you back."

(CONTINUED)

CONTINUED:

5. UNKNOWN OUTSIDER (doubtful) "Wait a minute. You want me to go back in time and save humanity? Why me?" HIGH COUNCIL MEMBER 2 (serious and convincing) "Do not doubt yourself. You have shown much courage so far in the Outlands. You have saved many people from the dangers in the darkness and you have spoken much about this world being unfair." HIGH COUNCIL MEMBER 3 (serious) "We give you the chance to turn things around and find fairness for everyone. Tell me, will you help us?" UNKNOWN OUTSIDER: (understanding) "I don’t know what to say. I feel honored that you choose me, but I don’t understand what I need to do." HIGH COUNCIL MEMBER 1 (serious) "First of all you need to trust us. This is the only way." UNKNOWN OUTSIDER: "How many of us are going back?" HIGH COUNCIL MEMBER 2 (serious) "Just you. There is only enough light for one person to go back." UNKNOWN OUTSIDER (determined) "Ok. What do I have to do." HIGH COUNCIL MEMBER 3 (serious, relieved) "I’ve always known you were the one my son. First we’ll have to implant the device in your body. I can assure you it will be safe and our engineers know what they’re doing".

(CONTINUED)

CONTINUED:

HIGH COUNCIL MEMBER 2 (serious) "You need the light from the prism inside the city to power up the device." UNKNOWN OUTSIDER (a bit confused and worried) "But how will I get into the city, the guards will never let me in!" HIGH COUNCIL MEMBER 1 (serious) "We will have to come up with a scheme to let you in. My brother and his friends, they are finding a way. So you need not worry, they will get you to the prism". HIGH COUNCIL MEMBER 3 (serious) "First we have to implant the device. Go to our engineers, they are waiting for you." Unknown Outsider leaves the room. In the next shot we see the scene from the point of view of the outsider. He is slowly waking up from the operation and his surroundings are still a little bit blurry. He sees three doctors above him. There are all wearing bandanas in front of their mouths. DOCTOR 1 (relieved, happy) "He’s waking up. How’s his blood pressure?" DOCTOR 2 "110 over 79" DOCTOR 1 "Good, good" Doctor looks at the Unknown Outsider and checks his pupils with a flashlight DOCTOR 1 (slowly) "Everything went really well. You’re probably still a bit out of it, so rest some more". In the background the doctors keep talking with each other, but then UO closes his eyes: fade to black.

VIDEO 3: THE DEPARTURE Filming date: 20/21 november Launch date: 28 november, on LC website DESCRIPTION: The Unknown Outsider finds himself in the city already. He is almost at the Prism. There he is stopped by Helena. She tells him that he can’t go further anymore. He tells her that he needs to get past her. After all it is for the greater good of mankind that she lets him. But, brave as she is, she still tries to withhold the Unknown Outsider to get any further. He kills her with her own weapon. CHARACTERS: - Unknown Outsider: Male, 24. Determined to get to the light no matter who stands in his way. But he hates himself for having to kill Helena and when he does, it’s in the spur of the moment and in a ruch of adrenaline. It’s almost automatic but right afterwards he feels bad about it, even though it’s the only way to save the world. - Helena: Female, 30. Helena is the adviser of the Forbidden City and she is neither giver not keeper. She is the one who tries to mend things between the groups and she is also responsible for guarding the prism. She doesn’t always stand there, because she has many guards who work for her. But this time she is guarding the prism and is unfortunately in the wrong place at the wrong time. SCRIPT: HELENA (defensive) "HEY! What are you doing here? You’re not allowed here, who are you?!" UNKNOWN OUTSIDER (feels caught) "I can’t tell you, just let me through. It has taken too long already".

(CONTINUED)

CONTINUED:

8. HELENA (defensive) "I’m not gonna let you in, do you even know where you are?! This is a restricted area!" UNKNOWN OUTSIDER "So why are you here, who are YOU?" HELENA "I’m the protector of the light and since you don’t know me, you are definitely NOT from this city. GUARDS, GUARDS!!!!"

Helena grabs her weapon and tries to attack the Unknown Outsider, but he pushes her out of his way, grabs her weapon and hits her in the head. The Unknown Outsider drops the weapon. UNKNOWN OUTSIDER "What have I done.....I have to make sure that I fix it!" VIDEO 4: THE ARRIVAL Filming date: 20/21 november Launch date: 29 november on LC website DESCRIPTION: News item describing strange lights above the Netherlands. Presenter introduces the news item and several clips are shown of people who filmed the phenomenon on their mobile devices. The screen is designed as an actual tv show with a logo on top and several other news items appearing in the bottom of the screen. The broadcast is interrupted by the Unknown Outsider who has an urgent message for the viewers. CHARACTERS: Presenter: Male, young, professional, serious Unknown Outsider: Male, 24, wearing mask. Urgent and serious. SCRIPT: (CONTINUED)

CONTINUED:

(contâ&#x20AC;&#x2122;d)

(news anchor seriousness) "Last night hundreds of people saw a bright, spiral of light appearing in the sky near Eindhoven in the Netherlands. The police received many calls about the incident, but the strange spiral vanished as quickly as it had appeared. Some footage was taken by witnesses, but authorities are still investigating the authenticity of the phenomenon. Turns page on desk "Tomorrow the 2015 United Nations Climate Change Conference will commence in Paris. The police have deployed extra forces due to the tensions in the city. The objective of the conference is to achieve a binding and universal agreement on climate, from all the nations of the world".

UO interrupts the broadcast with a self-made video. Dark and mysterious, UO wears mask. E-mail address is shown in the bottom. UO (urgent) "I have a very important message for you. I need your help to find someone who will save humankind. Iâ&#x20AC;&#x2122;m not sure if I am safe here, so this is all the information I can give you. Send me an email and I will tell you who I am and what I need you to do". VIDEO 5: LOCATING ALOYSIUS BARNHART Filming date: 27 november Launch date: 1 december on UO FB DESCRIPTION: UO has found AB on facebook and has discovered that he studies at TU/e. He has become friends and asks audience to do so as well. CHARACTERS: (CONTINUED)

CONTINUED:

10.

Unknown Outsider: Male, 24, wearing mask. Urgent and serious. SCRIPT: UO (urgent, but calm) "Thank you for deciphering the codes and finding out the professor’s name is Aloysius Barnhart. He is a legend in the outlands. Do you know him? It says on his Facebook page that he is a student at TU/e. I’ve sent him a few messages and asked him to add me as a friend, but he says that I’m crazy and he’s not replying to me. Maybe you can try becoming friends with him and keep track what he’s up to. That way we can find him and convince him to save the light! Email me if you discover anything important about his whereabouts". VIDEO 6: LUMEN CREATIONS Filming date: 27 november Launch date: 5 december on UO FB DESCRIPTION: U.O. has received information about the place where A.B. is doing an internship. He feels like he’s getting closer to finding the savior of the future. The users have told him the company is called Lumen Creations, a new start up at Strijp-S which is specialized in researching light adaptations. CHARACTERS: Unknown Outsider: Male, 24, wearing mask. Urgent and serious. SCRIPT:

(CONTINUED)

CONTINUED:

11.

UO (urgent, more nervous than before) "So Aloysius will not be found at the university campus, because he is doing an internship at Lumen Creations. Do you know this company? Is it known in your time? Can you find out where they are and what they’re doing at the moment? Please email me back where Lumen Creations is right now. And remember to be careful, but hurry. I feel like someone is keeping an eye on me." VIDEO 7: ABROAD Filming date: 27 november Launch date: 8 december on UO FB DESCRIPTION: UO found out that everyine at Lumen Creations, including AB, is in beautiful Syney....on the other side of the WORLD! UO feels like he’s in danger and being followed. So he’s urging the user to find out when they’ll be back CHARACTERS: Unknown Outsider: Male, 24, wearing mask. Urgent and serious. SCRIPT:

UO(disapointed) "He’s in Sydney! This keeps getting worse and worse. I need to hurry up, I think someone is following me. I need to reach the professor, soon! Can you email when he’ll be back in Eindhoven?"

....battery runs out......

12.

VIDEO 8: THE RETURN Filming date: 28 november Launch date: 12 december on UO FB DESCRIPTION: UO was right about being followed. This video is shot with a smaller device, because UO had to leave his last location and on the run. He managed to escape two men in black suits. He is now sending the user a final video before he drops his camera and we see the ground and people running. CHARACTERS: Unknown Outsider: Male, 24, wearing mask. Urgent and serious. UO (in a hurry and panicked, looking around a lot) "I need your help now more than ever. I was right about being followed. Some guys almost found me, but i managed to get away. I really need to you to find Aloysiusâ&#x20AC;&#x2122;s roomnumber, so I know where to go." He looks around and sees the MIB in a distance, slowly starts running. "Oh shit, I really need to leave! Email me his roomnumber!!!" He drops the camera VIDEO 9: CONFRONTATION CCTV FOOTAGE: NO SCRIPTS NEEDED VIDEO 10: CONNECT & INTERACT Filming date: 15 december Launch date: 17 december on AB FB DESCRIPTION:

(CONTINUED)

CONTINUED:

13.

Aloysius describes what happened to him the past few weeks with his internship, going abroad and receiving strange messages from a person claiming to be from the future. CHARACTERS: - Aloysius Barnhart: Male, 24, science student, dreads, energetic SCRIPT: *improvised* VIDEO 11: DELIVERY Filming date: 28 november Launch date: 19 december on AB FB DESCRIPTION: Resolution video where Aloysius finally finds answers to his Pyramid Project. CHARACTERS: - Aloysius Barnhart: Male, 24, science student, dreads, energetic SCRIPT: *improvised*

Media Overview Accounts: Phone: - Phone number for Lumen Creations: +31852080803 Email: - Unknown Outsider  e-mail: unknownoutsider@outlook.com password: Forbiddencity2094- Aloysius Barnhart  e-mail: aloysiusbarnhart@outlook.com password: Forbiddencity2094- Lumen Creations  e-mail: lumencreations@outlook.com password: Forbiddencity2094WIX: - Lumencreations.com  e-mail: lumencreations@outlook.com password: forbiddencity20 Facebook: - Unknown Outsider  Facebook page - Aloysius Barnhart  Facebook page - Lumen Creations  Facebook page Instagram: - Account: makethefuturebright - Password: Forbiddencity2094Website: - Lumen Creations: www.lumencreations.com - Aloysius’s personal website http://aloysiusbarnhart.wix.com/abprofessional Wix password: Forbiddencity - Convention Sydney: convention_of_light2015@outlook.com Wix password: Forbiddencity

Email – Unknown Outsider Reply 1: Unknown Outsider - replies to user by mail Launch date: automatic reply via Conducttr between 30 NOV – 1 DEC User sends an email to U.O. asking to join. U.O. replies with email message: “Dear friend, I’m glad you want to join forces! I need your help to find someone very important. Someone who will save the future, where I’m from. I was born in 2075 and I’m sorry to say that the future does not look bright at all. In 2094 an eternal eclipse turned the earth dark and humankind is in danger. There was a professor who predicted the eclipse and invented prisms to save the remaining light. But time ran out and the eclipse happened before all the prisms were finished. I came back to find the professor and help him with developing the prisms. He needs to know he’s the one who will save us all!

There is just one problem: I don’t remember his name. The council put all the information in my time device, but when I upload it, I only get a weird code. Can you help me out with it? Like my page on Facebook and that way we can keep in touch. 01000001 01101100 01101111 01111001 01110011 01101001 01110101 01110011 00100000 01000010 01100001 01110010 01101110 01101000 01100001 01110010 01110100 011010000111010001110100011100000111001100111010001011110010111101110111011101110 111011100101110011010010110111001110011011101000110000101100111011100100110000101 101101001011100110001101101111011011010010111101101101011000010110101101100101011 101000110100001100101011001100111010101110100011101010111001001100101011000100111 00100110100101100111011010000111010000101111 Send me a reply by email. Also like my page on Facebook and that way I can keep you updated.

Email – Aloysius Barnhart Reply 9: Aloysius Barnhart - Link to personal website and Pyramid Project Launch date: automatic reply via Conducttr on 10-11 DEC User hears A.B.’s email on voicemail message and sends email. A.B. sends an automatic email: “Dear reader, I’m very busy at the moment. You can always check out my website to follow The Pyramid Project. - insert link to personal website-“ Reply 12: Aloysius Barnhart - Reaction to deciphered name of ‘Unknown’ by Aloysius. Launch date: automatic via Conducttr on 12-13 DEC User sends email to A.B. containing the deciphered mugshot ‘Unknown’ and A.B. responds: “Unknown? Are you sure? What kind of a name is that? I have been receiving really weird messages from an unknown person saying that he’s from the future and that he needs to contact me. Could he be the same person? This is all so confusing, but I have been working on a project that might fit his story. Only it’s not quite done. Maybe I should show the world what I’m making…” Reply 13: Aloysius Barnhart - Reaction to the year 2094. Launch date: automatic via Conducttr on 14-15 DEC User deciphers wingdings and sends email to A.B. ‘the number you seek is 2094’ and A.B. responds: “Is it actually true, there were four numbers missing and it fits with the design for the Pyramid Project. I think I can finish it now! Finally!. I might need to find one more thing though… What could it be?! If you have any clue, send me a Facebook message, please!”

Facebook – Unknown Outsider Reply 2: Unknown Outsider replies to user by FB post. Launch date: 5 DEC User posts the name ‘Aloysius Barnhart’ to U.O.’s Facebook timeline. U.O. replies with a post: “We’re on the right track! Do you know where he is studying? That way I can go look for him.”

R10: Unknown Outsider says he’ll visit A.B. tomorrow in post Launch date: 14 DEC “Thanks so much, I finally know where he’s working. I will visit him tomorrow!”

Facebook – Aloysius Barnhart R4/R5: Aloysius Barnhart sends Facebook message to users who have added him as a friend Launch dates: automatic via Conducttr First response (R4): “Who are you’?” Second response (R5): “I don’t know you” M13 + R8: Aloysius Barnhart posts a picture of a convention center in Sydney. Launch date: 8 DEC “Back in two days after the convention ends.” M17: AB shows CCTV clip Launch date: 11 DEC A.B. posts a message on his timeline about the Unknown Outsider. He shows the CCTV clip and mugshot and asks if the user know his name. “This happened yesterday in front of our office. Does anybody know his name? I was sent this mugshot too. If you know who this is, can you send it to me by mail?” M19: Aloysius Barnhart posts video on his timeline Launch date: 13 DEC Description

Voicemails M9: Voicemail Lumen Creations – 1 Launch date: automatic via Conducttr “Hello you’ve reached Lumen Creations. Unfortunately we’re not at the office for the next few days. Please get back in touch with us soon or check out www.lumencreations.com1 M15: Voicemail Lumen Creations – 2 Launch date: automatic via Conducttr “We just got back at our office and are busy working on the pyramid project. If you have any questions, try to call us again.” Message ends with a male voice saying his email address, it’s Aloysius’s. aloysiusbarnhart@outlook.com

Websites -

Lumencreations.com

M10: Blogpost on LC website Launch date 6 DEC We're all in beautiful Sydney! Besides putting some shrimp on the barbie and catching some waves, there's plenty of work to do at the convention. We'll be presenting our new light adaptations and meeting people from all over the world who are also working on a brighter future. -

The pyramid project: Aloysius’s personal blog about his project: roomnumber is 2.03 Convention in Sydney: Australian Technology Park Sydney |2 december - 8 december|

Instagram Account: ‘makethefuturebright’ M3: Blueprints Blueprints Pyramid Project and another blueprint style page with an unfinished pyramid and some programming through it wingdings.(Familiar to P12, but referring to P13)

Videos - General Teaser#1: the conspiracy Production Finished: 23 NOV Launch date: 26 NOV The year 2099; Prediction of the professor; Construction the time machine. Teaser#2: finding the delegate Production Finished: 23 NOV Launch date: 27 NOV High Council makes a plan to get into the city. They choose U.O. and install the time machine. U.O. gets into the city Teaser#3: the departure Production Finished: 23 NOV Launch date: 28 NOV The seizure, message and murder of Helena. The Unknown Outsider gets in touch with the Prism and heads of through time. M20: Delivery Production Finished: 11 DEC Launch date: 15 DEC Resolution video

Videos – Unknown Outsider Kickoff: The arrival Production Finished: 23 NOV Launch date: 29 NOV News bulletin covering a strange spiral in the sky. Appearing to transform into a black hole. Digitally interrupted by self-made material of U.O. Appealing to user with the demand for helping to save the planet. Offering you more information if you apply by coded email. M5: U.O. - Locating A.B.

Production Finished: 28 NOV Launch date: 1 DEC Summarize recent events; Include FB info about study; Appeal to invite Aloysius as friend. “You have to tell him he is the savior of the light! ” M7: U.O. - Lumen Creations Production Finished: 1 DEC Launch date: 5 DEC Find out that Aloysius has his internship at Lumen Creations. What can we find out about Lumen creations? M11: U.O. – Abroad Production Finished: 3 DEC Launch date: 7 DEC Summary by Unknown Outsider. About before and the quest for the convention of light. M14: U.O. – The Return Production Finished: 5 DEC Launch date: 9 DEC Summary by Unknown Outsider. About the return to Eindhoven of Aloysius. User should find the number of the office he works in at Lumen Creations. Slightly mention that user should try to call them again.

Videos – Aloysius Barnhart M17: A.B. – Confrontation Production Finished: 7 DEC Launch date: 11 DEC Short clip in which we see that the Unknown Outsider arrives at the door of Lumen Creations, but needs to come with two guys in black suits. This is shown by Aloysius because he got contacted regarding this unknown man. M19: A.B. – Connect and Interact Production Finished: 9 DEC Launch date: 13 DEC AB briefly describes what happened to him the past 2 weeks. He has been working on the Pyramid Project, only he has encountered some problems that he can’t solve… Due to the last incidents he wanted to check if somebody can help him out. He shows one of the blueprints, in the same style as the pictures from P1 that the user found via the instagram account. The user should already recognize the style of the pictures. There seems to be one impossible code to crack. The professor then tells that the computer couldn’t solve a mathematical equation and only drew characters…The characters are in the font wingdings like this:    (It spells: The number that you seek is 2094) “What am I missing…?! Send it to my email address, it might mean something big…”

CALL SHEETS PRODUCTION ROLE NAME 1. CONSPIRACY DIRECTOR STIJN PRODUCER NICOLAI SCRIPT MONICA CAMERA WILSON BENJAMIN SOUND LOÏS EDITING & POST-PRODUCTION STIJN ACTORS RAMON WOLF FRANKEN, ALLARD GEERLINGS 2. FINDING THE DELLAGATE DIRECTOR STIJN PRODUCER NICOLAI SCRIPT MONICA CAMERA WILSON BENJAMIN SOUND LOÏS & MONICA EDITING & POST-PRODUCTION STIJN ACTORS JORDY SLENDERS LOÏS SIROEN GILY DE RECHT DEA PLEVNEŠ

3. THE DEPARTURE DIRECTOR STIJN PRODUCER NICOLAI SCRIPT MONICA CAMERA WILSON BENJAMIN, STIJN & NICOLAI SOUND LOÏS EDITING & POST-PRODUCTION NICOLAI ACTORS JORDY & MONICA 4. THE ARRIVAL DIRECTOR NICOLAI & JORDY PRODUCER NICOLAI SCRIPT MONICA CAMERA NICOLAI LIGHT LOÏS EDITING & POST-PRODUCTION NICOLAI ACTORS PHILIP CORSIUS JORDY

PRODUCTION ROLE NAME UNKNOWN OUTSIDER VIDEOS DIRECTOR/PRODUCER NICOLAI SCRIPT MONICA CAMERA JORDY & NICOLAI EDITING & POST-PRODUCTION NICOLAI ACTORS JORDY CCTV DIRECTOR LOÏS & NICOLAI PRODUCER & CAMERA NICOLAI CAR COORDINATION LOÏS EDITING & POST-PRODUCTION NICOLAI ACTORS JORDY HANS SIROEN BAS VAN GELDE CEEL DE WIN SIMON NEVE ALOYSIUS BARNHART VIDEOS DIRECTOR/PRODUCER NICOLAI SCRIPT STIJN & NICOLAI CAMERA NICOLAI EDITING & POST-PRODUCTION STIJN & NICOLAI ACTORS STIJN

USER JOURNEY

user journey

full assets list in order of appearance

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