Overall findings
From Australian Children's Transmedia Storytelling
Australian Children's Audiences]] creating their own content
- Modernization of how children’s storytelling is being reshaped by allowing the audience to be their own producers. This has been done by a shift in the production concept wherein the traditional (ie. Professional) producers have reallocated their experience from making content to making tools in which the audience can craft their own end-product.
The same content also serves to educate the user
- Aside from this change, though, it has also educated the young user in how this medium works. Often, technology similar to KaHootz will serve as pathways or stepping blocks to allowing the user to tackle more advanced applications as they mature. The content has been simplified in order to improve the literacy of the user in the field of digital media. This accelerated adeptness structures the future of digital media. The producers will continue to gear towards making developing the concept of the “prod-user” to accommodate for evolving consumer expectations.
Their is an important shared-community focus
- The community focus of the medium has been substantial to the spread and accessibility of information online (MySpace, Facebook, Wikipedia, etc.). The focus on community and its implications to a child’s learning process has also been fleshed out to comfortably fit in the realm of digital media. New concepts centered as digital media for children allow their users to share their work with the rest of the online community, making the learning process as much communal as it is individual.
Standards transmedia products are rising
- To be successful and a true transmedia output, the project must be developed to cross over multiple platforms from conception. A product with additional features located online is merely playing it safe. What the innovators are trying to push is the concept of positioning the transmedia component, be it online or through a different medium, as a part of the created space generated by the content. New intellectual properties should no longer be “stretched” to cover different mediums, but they should now be prepared to encompass them.
Different goals have been set
- Modern children’s content now focuses to being transmedia product. Instead of a one-off act of consuming media, the focus is no longer keeping the child involved with the narrative for a 30 minute block in front of the television but to immerse him/her in an entire world which the child has several methods of exploring.
Audience expectations are evolving
- Because today’s media consumer matures much more technology-literate than generations past, their expectations of what constitutes a good story have matured along with that adeptness. It is no longer difficult to venture outside of what is presented on-screen to read more about characters, or even to research on the people who produced the content. With this information at hand, it refocuses the audience as a smarter and critiquing audience allowing them a much broader view of any media presented to them. If their attention cannot be kept, then the audience will lose interest. The decreased tolerance creates an almost democratic pressure between audience and producer.
Audience perceptions are changing
- As future content producers, we must be aware of not only changing audience expectations but a change in audience perspective. The response to the modern consumer’s desire to also be a producer is altering perceptions of the future of children’s digital content and, subsequently, perceptions of what constitutes a proper piece of interactive media as these same consumers/producers mature both in age and in familiarity with the “prod-user” model.
[edit] LINKS
- (see Conclusion 1)
- (see Conclusion 2)
- (back Australian Children's Transmedia Storytelling)
