Transmediality

Take a second to think about to Matrix Franchise. Significant portions of information are conveyed through three action films, a series of animated shorts, two collections of comic book stories and a number of video games. In essence, there is no single source that can be viewed/read that one can turn to in order to gain all the information needed to comprehend the Matrix universe. Transmedia storytelling is predominately a process. Each medium makes its own unique contribution to unfolding the story. Such as the Matrix, a transmedia text does not purely disperse information but deems to provide a set of roles and goals which the audience can assume as they enact aspects of the story through everyday life. Another specific example of transmedia narrative is the avengers. In this includes ironman, the hulk, captain America, Thor and others that all incorporate combined characters and are strongly linked. The latest Captain America movie, the Winter soldier can be seen by someone who has not seen any other Avenger movie and still be made sense of but to someone who has seen all of them will grasp a stronger understanding of the background of characters and overall meaning of the text and events. As what may be viewed as gaps or excesses in the unfolding of the story, potential plots that may not be fully explained or details that hint at more that can be revealed is a strong incentive for the audience to continue to concentrate on these story elements. They are also then able to work them over through their speculations until take on a life of their own. This element of a transmedia narrative can also be linked to the idea of creating different points of entry for different audience segments. This strategy may also hold the ability to enable a viewer who is comfortable in a particular medium to experiment with alternative media platforms.

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Flapmmo

Earlier in the year the world thought it was at peak Flappy Bird, but once the developer pulled it from the app stores, many versions were created in attempt to recreate its popularity. One of the more notable versions that appeared online is flapmmo.com. This site allows users to compete with each other in almost real time.  Since flapmmo.com was launched, the game saw both a surge of popularity and well as undergoing a number of iterations. Extra servers were added, the graphics were heightened and it became more aesthetically pleasing with statistics added to gameplay. The statistics that have been introduced show the percentage of deaths at each pipe and users are able to see where fellow gamers are failing. Canadian software developer Connor Sauve made the observation that the game started the track the number of flaps made by each user. For people that play this game, this means they are now able to view recordings of previous attempts made by other users rather than the exact movements of gamers playing at the same time. In an attempt to analyse trends in the game, Sauve left the game open for a local server to log the attempts made by other users and ended up logging up 419,000 game attempts thus giving him plenty of data to analyse.

The most interesting trends that could be taken from the data include:

1. Some people are just really addicted- Sauve noted that one user made nearly 200 attempts but could only stay alive for less than 200 seconds

2. The further you get the harder it becomes- this is a surprise as the game doesn’t get more difficult, more stress is just placed on the gamer.

3. People get better with practise

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Picture source: http://mashable.com/2014/03/15/mob-control-games/

In conjunction with Bruns (2007) key characteristics of produsage, the idea of “unfinished” factors into the original Flappy Bird app. Due to its iterative nature, as the app is fairly basic, it has produced an evolutionary product and thus different formats have been created such as Flapmmo.com.

http://www.theguardian.com/news/2014/mar/03/flappy-bird-what-does-the-data-say

 

 

Much flap, So bird, Very addict

Major changes and trends in technological and cultural convergence are evident in the design production and use of the late popular app ‘Flappy Bird’. To begin with, concentration of power was apparently so extreme in the hands of the creator that it was alleged he made a choice to delete the game. According to The Cultural Logic of Media Convergence by Henry Jenkins, media technologies have lowered production and distribution costs, expanded the range of available delivery channels and enabled consumers to archive, annotate, appropriate and recirculate media content in powerful new days. In contradiction, there has also been alarming concentration of the ownership of commercial media. In this sense, Flappy Bird has been applied both of these notions as it has been vastly appropriated and recirculated in the media but it was owned by one man.

With the easy accessibility of having the app available at the touch of a button on your smart phone, the consolidation of the platform is one of the main reasons the success of the app was so high. However, it came to my attention when I first started investigating Flappy Bird through the internet that there have been many games available on PC’s almost identical to Flappy Bird. This made me wonder, will this see a trend of enticing lovers of mobile games that have been deleted and entice them to a more traditional yet still very technological platform of Google?

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In considering the migratory habits of Flappy Bird, there is no doubt that when the original app became popular that was one of the only Flappy Bird games that were highly downloaded. Since it has been deleted, there have been an abundance of Flappy Bird-like apps to choose from. The pattern is: you download one, get sick of it, then download another one.