Carson Conversations Forum | Susan Bonds
Susan Bonds, Co-founder and CEO at 42 Entertainment, speaks at the University of Nebraska-Lincoln's Johnny Carson Center for Emerging Media Arts. Her talk: “The Future Requirements of an Emerging Media Arts.”
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[00:00:08.114]I'm 100 years old.
[00:00:17.054]So the title of my topic is
[00:00:19.166]The Future Requirements of Emerging Media Arts.
[00:00:21.502]So what I thought I would do,
[00:00:23.302]because I have had so many different careers,
[00:00:25.614]is we would look back through some very specific projects
[00:00:28.912]and the teams it took to put those projects together
[00:00:31.639]and see what kind of conclusions that we could draw
[00:00:34.247]for the curriculum for the
[00:00:35.735]Johnny Carson Center for Emerging Arts
[00:00:37.818]I'm going to, hopefully, reinforce
[00:00:40.346]from a different perspective a lot of things
[00:00:42.259]that some of these very, very incredibly talented,
[00:00:44.828]and amazing speakers before me and after me have said.
[00:00:47.906]So, let's get into into it.
[00:00:50.363]So the first thing I'm gonna say
[00:00:51.918]is you've heard it already,
[00:00:53.392]is that today's audience is looking for experiences.
[00:00:56.328]I will say that most of my career has been in entertainment,
[00:00:59.570]so kind of the context for this talk is in entertainment,
[00:01:03.491]and many of you may have read The Experience Economy.
[00:01:07.862]How many people have read that book?
[00:01:10.439]And it basically says that goods and services
[00:01:12.479]are no longer enough and that's kind of been reinforced
[00:01:16.411]by some recent studies that futurists have done,
[00:01:19.391]specifically here one from Sheryl Connelly,
[00:01:21.262]who's a futurist at Ford Motor Company,
[00:01:23.584]that people under 35 are looking for experiences
[00:01:27.295]that can't be replicated anywhere else,
[00:01:30.374]and that's kind of a tough brief for a creative, right?
[00:01:34.207]Because the idea...
[00:01:37.262]When we were starting in the early days of the web,
[00:01:40.270]you could do something never been done before.
[00:01:42.056]That's getting harder and harder and harder,
[00:01:43.662]so it's kind of the craft of how you're using these tools
[00:01:46.799]and how you're putting storytelling
[00:01:48.337]and experiences together.
[00:01:50.374]So we've heard a lot of dark, dystopian...
[00:01:55.273]I'm going to start with the happiest place on earth.
[00:01:59.980]So I went to Georgia Tech, which is an awesome school.
[00:02:03.304]I'm on the board of Georgia Tech now, so forgive me.
[00:02:05.289]I am wearing my Nebraska pin.
[00:02:07.945]And I was one of five kids, so I had to work my way
[00:02:11.418]through school, and the way that I did that
[00:02:13.716]is I got a cooperative education degree.
[00:02:17.091]And what that meant, is after four or five quarters,
[00:02:20.329]you basically interviewed for jobs
[00:02:21.450]and then you worked every other quarter
[00:02:22.474]until you finished school.
[00:02:23.370]It took a little bit longer, but you left school
[00:02:25.450]with 2 1/2 years work experience.
[00:02:27.713]So I go to the co-op office and I'm looking
[00:02:29.513]at all these potential jobs that I could get
[00:02:32.203]and I see one for engineer on a theme park
[00:02:36.629]at Walt Disney World.
[00:02:38.052]And I think, oh, that sounds interesting, I'll go for it,
[00:02:40.703]and lo and behold I got hired.
[00:02:42.854]When Walt Disney World was just the Magic Kingdom,
[00:02:46.576]or the Tragic Kingdom as we call it,
[00:02:49.043]and that was all that was there.
[00:02:51.353]My office was on Main Street overlooking the parade route
[00:02:55.403]and I got to work on Epcot from groundbreaking
[00:02:58.768]to opening day.
[00:03:00.624]What a huge honor.
[00:03:02.112]And even though after Epcot opened,
[00:03:05.202]I went into aerospace, I came back to Disney
[00:03:09.471]because I was so impressed
[00:03:11.479]with this thing called an imagineer.
[00:03:13.639]So one of my first attractions
[00:03:15.286]was the Indiana Jones Adventure at Disneyland.
[00:03:17.611]How many people have been to Disneyland?
[00:03:19.983]Anybody ride the Indiana Jones Adventure?
[00:03:22.622]Seven years it took to develop this ride,
[00:03:26.063]but when you think about designing
[00:03:29.323]from a blank piece of paper and experience,
[00:03:31.724]in this case an experience based on a pretty famous IP,
[00:03:35.260]there's certain things that you get to ask yourself,
[00:03:37.732]but from an audience perspective,
[00:03:39.731]from an experience perspective,
[00:03:41.747]we're saying if you saw the Indiana Jones movie,
[00:03:43.995]what would you expect to do?
[00:03:45.708]You know, yes snakes, yes bugs, yes danger,
[00:03:50.253]yes you go first, all that kind of stuff.
[00:03:52.773]So it was really kind of exciting
[00:03:55.442]to work in an IP where people came to it
[00:03:57.697]with expectations but it was also super challenging too.
[00:04:01.044]So kind of the learning was how do you meet
[00:04:04.433]the audience expectations when you're translating something
[00:04:06.728]from a blockbuster movie property
[00:04:08.945]into a theme park attraction.
[00:04:10.852]And then from an emersion standpoint,
[00:04:12.809]how do you make all the details add up,
[00:04:14.818]so I'm gonna try to go back.
[00:04:16.745]So George Lucas and Shawn mentioned
[00:04:20.690]that he wrote a Yoda book, they're known
[00:04:23.376]for being fanatical about canon.
[00:04:25.943]So even though you would never know
[00:04:29.282]what time period this attraction was set in,
[00:04:32.165]we had to figure it all out.
[00:04:33.410]It had to be between the second and third movie.
[00:04:34.723]All these details had to be super perfect.
[00:04:38.233]And of course, Disney, being the artisans that they were,
[00:04:42.253]I would have craftsmen that would say,
[00:04:44.244]"Oh, we're making the ladders out of white oak
[00:04:46.140]"because that's what they had in 1938."
[00:04:48.301]You're like, I'm not sure that the average American
[00:04:51.412]is gonna notice that, but go you.
[00:04:55.584]But the idea was that every artisan and craftsman
[00:04:59.515]and engineer, everyone involved in it bought into this idea,
[00:05:04.034]which is we're making a world, a blockbuster movie,
[00:05:07.846]a time period come to life.
[00:05:09.119]And every detail added up.
[00:05:12.674]And the other thing too is we got to be first.
[00:05:15.868]So we got to be the first moving simulator
[00:05:18.722]through three-dimensional sets.
[00:05:20.562]Even though now when you go to Islands of Adventure
[00:05:22.931]and you're like, yeah that's old hat,
[00:05:25.358]but back in the day in 1995, which is when Indy opened,
[00:05:30.444]it was the very first.
[00:05:32.439]And what was so freeing about that,
[00:05:34.514]because there had been simulators with screens
[00:05:36.871]and then there had been cars through dimensional sets,
[00:05:38.864]but nothing that was a motion-based simulator
[00:05:42.250]went through three-dimensional sets,
[00:05:43.431]so this jeep actually had six degrees of freedom.
[00:05:46.377]The back end could slide out 30, 32 inches,
[00:05:49.456]and so it really gave you an opportunity
[00:05:51.505]to create this dynamic choreography.
[00:05:54.736]And so, this was kinda my first attraction
[00:05:57.683]where you were kind of like over everything.
[00:06:00.562]And of course, I was just kind of like,
[00:06:02.634]from an engineering point of view,
[00:06:03.913]trying to decipher design into something I could understand.
[00:06:08.068]So I made this incredibly big Excel spreadsheet.
[00:06:11.620]I tried to find it so I could show it to you,
[00:06:12.947]but I'll just describe it for you.
[00:06:14.578]Where I took every 10 seconds of a four minute ride
[00:06:18.039]and I took every tool that I had in my toolbox and I said,
[00:06:21.442]"Okay, what's the relationship, in terms of emphasis?
[00:06:25.269]"Is the motion more important here?
[00:06:26.608]"Is the off-board audio more important?
[00:06:28.256]"Is the audio animatronic?
[00:06:29.458]"Is the special effect?
[00:06:30.665]"What is it that's the most important?"
[00:06:33.001]And I created, literally, this blueprint
[00:06:35.729]and it seemed so complicated at the time,
[00:06:38.009]but kids today are like, they think
[00:06:39.656]of that stuff in a nanosecond.
[00:06:42.218]But it just goes to show you that
[00:06:45.861]we can learn from looking back.
[00:06:51.758]What does it take to build
[00:06:53.030]a real world Disney E-ticket attraction?
[00:06:57.051]And this isn't everyone.
[00:06:58.885]The team was about 400 people.
[00:07:00.840]It took seven years.
[00:07:02.868]And look at the disciplines that were involved.
[00:07:05.781]And everyone, amazing A-team bought into the bigger idea.
[00:07:11.056]What I learned, and all of these amazing pieces
[00:07:16.193]of content and artistry are in the attraction
[00:07:18.559]if you get to go see it.
[00:07:19.695]But what I learned was something
[00:07:22.980]that I'm going to get to later,
[00:07:24.107]which is the concept of experience design.
[00:07:27.995]And very selfishly, I kind of tailored this
[00:07:30.971]so that the conclusion is we need
[00:07:33.275]the Carson Center to churn out experience designers
[00:07:37.631]because I need them.
[00:07:39.527]So I'm just gonna be upfront about it.
[00:07:41.439]This is something that I need to hire continuously.
[00:07:45.000]So yes, I do agree with some of my former mates who said
[00:07:50.196]we do need specialists and then we need people who can do
[00:07:53.171]the T or the X, but I think you also need that person
[00:07:57.622]who's thinking about it from the guest's point of view.
[00:08:00.764]It's like when I first step
[00:08:02.447]into the Indiana Jones attraction,
[00:08:04.502]how do I make you feel like you're in India, 1938?
[00:08:07.558]And as I'm walking through everything,
[00:08:10.035]from the props to the planting,
[00:08:12.790]plant material chosen to the temple that you're looking at,
[00:08:16.054]every little thing, that temple was aged
[00:08:20.161]with 14 passes of moss and every little thing
[00:08:25.456]is adding up to tell me something.
[00:08:27.841]And so tremendous artistry, lots of discipline,
[00:08:31.946]lots of specialists, but you also need the one who says,
[00:08:36.053]the one or ones, it doesn't have to be
[00:08:37.405]one person who says, here is the vision, here's what...
[00:08:41.828]Yes, okay, so I'll tell you.
[00:08:43.948]I know I'm being filmed,
[00:08:45.084]so I'll just tell this story anyway.
[00:08:47.461]Here's one big thing.
[00:08:49.092]We were so enamored with our programming ability
[00:08:51.079]for this new ride system that we thought,
[00:08:53.445]hey, you know what we can do?
[00:08:54.877]Like, 10 or 12 places around the track,
[00:08:57.394]we can program three different things.
[00:08:59.835]So literally there will be like over 100,000 combinations
[00:09:04.479]of this ride, and won't that be cool?
[00:09:06.775]It'll be like a great press story
[00:09:07.985]and people will go on it and they'll go on it
[00:09:09.337]'cause it's different every time.
[00:09:11.274]But what we didn't realize is that...
[00:09:13.697]I'm interviewing, I'm coming off the ride, what happened?
[00:09:16.448]There was a giant ball and a snake
[00:09:18.336]and there were bugs that fell in.
[00:09:19.768]Nobody could decipher from that little experience
[00:09:23.784]the kind of minute, little differences
[00:09:26.122]that we were doing in the program.
[00:09:27.460]So I don't wanna say it was a waste of time,
[00:09:29.137]but it essentially was a waste of time.
[00:09:31.062]Nobody would ever, ever, ever know that we had done that.
[00:09:34.763]And again, that's learning, right?
[00:09:36.910]If from the guest's point of view,
[00:09:38.129]would the guest ever discern that level of programming
[00:09:41.484]in a four minute thrill ride?
[00:09:44.022]They're experiencing G-forces.
[00:09:45.243]They're wondering where their purse is.
[00:09:46.428]They're thinking about their kids staying in the seats.
[00:09:48.885]They're not, no.
[00:09:50.976]So anyway, free one.
[00:09:54.502]So what was really interesting about being at Disney is
[00:09:57.965]we were always trying to meet guest expectations
[00:10:00.492]and design for the guest.
[00:10:02.316]And one of the things that...
[00:10:04.388]I'm gonna skip around here a little bit.
[00:10:06.150]But thinking about walking
[00:10:08.251]in the footsteps of Indiana Jones,
[00:10:10.188]you can think about what that expectation is.
[00:10:12.046]But I kind of got enamored with the idea of,
[00:10:14.356]well, I wanna be Indiana Jones.
[00:10:16.555]I wanna be the one that's going in, discovering this
[00:10:19.324]and solving this mystery and figuring this out
[00:10:21.404]and getting the artifact.
[00:10:22.861]So I actually left Disney and went to a company
[00:10:25.503]called Cyan Worlds, I don't know if any
[00:10:27.200]of you've heard of it,
[00:10:28.033]but they made the game Myst and Riven.
[00:10:31.508]And our goal was to create a real-time 3D engine
[00:10:34.809]and create the world of Myst Online
[00:10:37.622]and create a massively multiplayer online game.
[00:10:40.551]And it was really kind of interesting and exciting
[00:10:43.167]because you got to be yourself, you got to play you,
[00:10:47.094]which was kind of different from a lot of MMOs
[00:10:49.166]that were out at the time.
[00:10:50.638]Look at these beautiful landscapes.
[00:10:52.142]When you're limited by brick and mortar,
[00:10:54.990]at some point the budget king comes over
[00:10:58.718]and dings you on the head and says you're done.
[00:11:00.870]But here with digital pixels, you're never done.
[00:11:04.269]If you could draw it, you could build it.
[00:11:07.269]It was just kind of amazing to build these wonderful,
[00:11:09.535]vast, amazing worlds, and figure out
[00:11:13.751]a discovery exploration activity
[00:11:16.450]that wasn't just shooting things and killing people.
[00:11:19.297]So this was a big, huge education for me.
[00:11:22.496]And as part of that, I got into playing MMOs
[00:11:24.768]and I may or may not have
[00:11:26.544]a level 95 World of Warcraft character
[00:11:29.594]that I've digitally printed
[00:11:30.977]and is proudly shown in my office.
[00:11:33.002]But I was shocked and amazed.
[00:11:36.294]Shawn's talking about community,
[00:11:38.292]now I'm talking with people who only I know virtually
[00:11:42.700]and it's very, very different.
[00:11:43.908]There's a whole nother language.
[00:11:45.116]There's a whole nother dynamic.
[00:11:47.405]Over time, these things really change and grow
[00:11:50.938]and it was very, very interesting.
[00:11:53.234]So the things that I learned is like,
[00:11:55.252]okay, well, in a theme park attraction
[00:11:57.427]that's gotta get essentially 11, 12 million people
[00:11:59.691]through it a year, you really can't give them
[00:12:01.659]anything to do or decide.
[00:12:03.699]We gotta be 2400 people an hour, let's move it.
[00:12:06.797]So you're giving them this great experience,
[00:12:08.227]but they really don't have any agency.
[00:12:09.124]They really don't have any ability to interact.
[00:12:11.683]So now you're building, well,
[00:12:13.846]a massively multiplayer online game,
[00:12:15.299]it's all about agency and interaction, decisions,
[00:12:17.896]what path you're gonna go through
[00:12:20.035]and now you're creating a whole new world.
[00:12:21.797]I can create the rules of this world.
[00:12:23.616]However, I have to communicate them to you.
[00:12:25.786]I have to teach you what it's like to be in this world.
[00:12:28.649]And another great thing about making a virtual game
[00:12:31.368]is that I can update the content.
[00:12:34.608]So the idea that when we made Indy,
[00:12:38.442]we basically, on opening day, we turned the keys
[00:12:40.874]over to the operators at Disneyland and we say,
[00:12:44.433]"Go in peace, we're gonna go sleep for about two months."
[00:12:47.879]And it's gotta stand the test of time for five,
[00:12:50.871]10, or 15 years until they put rehab money into it.
[00:12:53.686]But here with a virtual game,
[00:12:55.286]you can update the content pretty regularly.
[00:12:58.039]So that was kind of all exciting, great things to learn.
[00:13:01.302]So what kind of team does it take to make something
[00:13:04.703]in a virtual game engine?
[00:13:07.030]And you can see the white things,
[00:13:09.302]the things in white are all disciplines
[00:13:11.016]that came over from theme park
[00:13:13.655]and making theme park and real world immersive experiences
[00:13:17.015]and everything in blue is new and different.
[00:13:19.454]So now I have to have a physics engine integrated.
[00:13:22.079]And now I have to have customer and technical support
[00:13:24.535]because I didn't do the thing right
[00:13:28.505]and I don't know how to do it and I'm paying money for this.
[00:13:32.062]There's level design and interaction design
[00:13:34.174]and user interface design.
[00:13:35.782]There's all these things.
[00:13:36.789]Character design and interactive writing.
[00:13:39.474]Game writing is different from writing something
[00:13:41.767]that's essentially a linear experience.
[00:13:43.934]So all these new disciplines kind of come into it.
[00:13:47.144]So just to take one quick step back,
[00:13:49.775]my last attraction at Disney was Mission: Space.
[00:13:52.652]And I wanna bring this up because it brings up
[00:13:55.085]an interesting dilemma that imagineers faced
[00:13:59.895]which I think they're solving by the way,
[00:14:01.704]I'm not trying to put a commercial in here
[00:14:03.176]but Star Wars and the world of Pandora,
[00:14:05.904]you should go see those if you get the chance,
[00:14:09.263]which is how could we, in a theme park attraction
[00:14:12.512]that's gotta get 2400 people through in an hour,
[00:14:14.607]how could you give somebody agency?
[00:14:17.463]How could you have something not turn
[00:14:18.967]out the same every time?
[00:14:20.952]And so for Space, we wanted to give people the sensation
[00:14:23.440]of what it's really like to be an astronaut.
[00:14:25.120]So how many of you have been on a 20 foot arm centrifuge?
[00:14:32.977]So I went to Dayton, Ohio.
[00:14:34.905]I took a VCR and a monitor
[00:14:37.186]and had the flight surgeon there and said,
[00:14:39.047]"Hey, let's just see what will happen."
[00:14:41.104]And it turned out it was pretty fun
[00:14:43.223]to give the sensation of vertical travel.
[00:14:45.543]Nobody had done that.
[00:14:46.496]Again, that's another first.
[00:14:48.351]A company like Disney is gonna invest
[00:14:49.592]in something like this, but we don't have capacity
[00:14:52.713]with one 20 foot arm, so of course
[00:14:53.952]we gotta put 10 on a turntable,
[00:14:56.427]capsules that hold four people,
[00:14:58.100]and let's give all four people a different role.
[00:15:01.204]I got to go to every NASA center
[00:15:02.577]and learn how the shuttle crews work.
[00:15:04.248]So when you're experiencing that G-force
[00:15:07.256]which pushes you back in your seat
[00:15:08.692]and you feel like you're going up,
[00:15:10.320]let's make people lift their arms
[00:15:11.937]so they feel it right here and push buttons.
[00:15:13.687]And wouldn't it be great if the crew could work together
[00:15:18.039]to either make it or not?
[00:15:20.155]I know that's a little fatalistic,
[00:15:21.424]but that was our goal, that was our dream.
[00:15:25.246]And this ride actually takes you to Mars,
[00:15:28.006]which is totally unrealistic in a four minute ride,
[00:15:29.925]but it was not our first choice,
[00:15:32.406]but there was a movie coming out called Mission to Mars
[00:15:34.478]so we integrated with that.
[00:15:36.709]So anyway, I would kinda get frustrated
[00:15:39.470]by the idea that in our digital display,
[00:15:42.407]in the way we were pushing people through,
[00:15:43.622]that we really couldn't give people agency
[00:15:44.973]and I talked a lot about why don't we use a game engine
[00:15:47.360]for the digital display?
[00:15:48.926]And let's give the people the option
[00:15:49.975]to either make it or not.
[00:15:51.007]We're not saying they died, but maybe they just crashed
[00:15:54.024]to the side or to the left or whatever.
[00:15:57.255]So what I wanna show you is...
[00:15:59.018]Actually, how many people have heard of this project,
[00:16:00.942]Field Trip to Mars?
[00:16:02.646]So, again, putting all my worlds together,
[00:16:04.454]I worked for Lockheed Martin for about a decade,
[00:16:07.120]this was just done last year.
[00:16:08.350]If you hadn't seen it, I was gonna show you the video,
[00:16:10.446]but it's on the internet, but you should definitely look up
[00:16:13.270]the Lockheed Field Trip to Mars.
[00:16:16.142]So what they did is they took a school bus
[00:16:18.798]and they took all of the windows
[00:16:20.934]and made transparent digital displays.
[00:16:23.215]So kids get on the bus, they're looking out the window,
[00:16:26.046]they see their neighborhood passing by
[00:16:28.038]and all of a sudden the windows go black,
[00:16:30.446]and then the screen comes back up
[00:16:32.142]and they're traveling at the same speed on Mars.
[00:16:36.469]And they see it on both sides,
[00:16:37.824]they're passing a habitat,
[00:16:39.772]if they turn, they're turning on Mars.
[00:16:42.651]It was just this amazing coming together
[00:16:45.060]of science, group VR,
[00:16:47.980]and an experience that had never happened before.
[00:16:53.007]This is what's possible now.
[00:16:54.918]You don't have to go to a theme park
[00:16:56.839]to have an immersive experience,
[00:16:59.342]which I think is truly exciting.
[00:17:00.510]I know we can't talk a lot about what's happening
[00:17:01.709]in AR, VR, and mixed reality.
[00:17:04.432]There was another one that you had in there
[00:17:05.935]that I don't remember, Robert,
[00:17:06.925]but I wanted to kind of, oh...
[00:17:13.360]I'm gonna stay one second.
[00:17:14.464]So now we've talked about immersion in the real world,
[00:17:20.126]immersion in the virtual world,
[00:17:21.709]and Mission: Space, I wanted to combine those two things,
[00:17:24.792]but I actually left gaming, left Disney
[00:17:28.496]and started a company with Shawn that said,
[00:17:31.256]what if we used the world as a game board
[00:17:33.904]and what if we could create shared collaborative experiences
[00:17:37.035]that happen to you where you can pop in
[00:17:38.961]and out of the fiction kind of on your own schedule?
[00:17:41.579]And that was the beginning of alternate reality games.
[00:17:43.825]So since Shawn has done a great job explaining it,
[00:17:45.992]I'm just gonna show you one, show you a video of one,
[00:17:49.288]which happens to be in the Guinness Book of World Records
[00:17:51.065]as the most participatory alternate reality game ever made
[00:17:54.647]and it was a bridge movie
[00:17:55.980]between Batman Begins and The Dark Knight.
[00:17:58.209]Now it has the advantage of there are six generations
[00:18:00.640]of Batman fans, I'm assuming everyone here,
[00:18:04.479]especially all the guys, had to choose
[00:18:05.880]between Batman and Superman in some ritual
[00:18:07.911]that we don't know about.
[00:18:13.479]My team were all Batman people.
[00:18:15.676]So the idea was that from the last frame of Batman Begins,
[00:18:21.356]the Joker kinda comes on the scene.
[00:18:22.933]The head of the mob's been kind of de...
[00:18:24.981]How could we let people literally be citizens
[00:18:27.189]of Gotham City and just play out,
[00:18:29.564]almost day-for-day what happens in Gotham City?
[00:18:31.612]So, I'm gonna show you a short video of this
[00:18:33.875]and then I'll wrap it up.
[00:18:35.517]In the months leading up to the release
[00:18:37.544]of The Dark Knight, more than 10 million people
[00:18:40.200]were immersed in a real-world Gotham City.
[00:18:44.677]Dozens of websites were found
[00:18:45.928]that built a living, breathing city.
[00:18:51.139]Players played integrated casual games to unlock pieces
[00:18:53.573]of a story.
[00:18:56.436]Physical newspapers and special collectibles
[00:19:00.325]Text messages, voice calls, and puzzles
[00:19:02.126]went out to mobile phones, connecting players
[00:19:04.222]to the major characters.
[00:19:06.028]Users from all over the world traded
[00:19:07.590]and submitted videos and pictures.
[00:19:09.700]Real world puzzles sent players around the globe.
[00:19:14.822]Live events gathered players together,
[00:19:16.902]unleashing Gotham City onto real city streets.
[00:19:20.363]Video and audio elements introduced players
[00:19:22.143]to the fast-paced emotional aspects of the film.
[00:19:25.232]A 360 degree fully-formed immersive reality.
[00:19:29.104]An integrated campaign where every element worked together
[00:19:31.680]to create a seamless experience.
[00:19:33.816]At Comic-Con, players hit the streets
[00:19:35.672]dressed as their leader and Gotham City
[00:19:37.976]began to spill out into the real world,
[00:19:40.168]a world they could choose to join in any way they wanted,
[00:19:42.824]like the campaign to take back Gotham City.
[00:19:44.864]Hello, I'm Harvey Dent.
[00:19:46.840]Harvey Dent contacted players
[00:19:48.260]by phone and email and asked them to show their support.
[00:19:51.550]Dentmobiles brought Harvey Dent's message of change
[00:19:53.929]to 33 cities throughout the country.
[00:19:56.201]Citizens took to the streets, marched, protested,
[00:19:59.617]rallied, screamed, and chanted.
[00:20:02.546]It was big, but not as big as what happened
[00:20:04.857]the week of The Dark Knight premiere.
[00:20:06.547]Hundreds of Gotham City residents
[00:20:08.314]calling themselves Citizens for Batman
[00:20:10.682]gathered in downtown New York City.
[00:20:12.835]And then at 10:00 p.m. sharp, they saw it, the Bat-Signal.
[00:20:16.413]They didn't know what was coming,
[00:20:17.863]all they knew was that online clues sent them to the site.
[00:20:23.608]So, that's just a really short recap.
[00:20:25.224]You can see more on our site.
[00:20:26.961]But the idea is now you could really let the audience in.
[00:20:31.339]Now, from a guest design experience,
[00:20:33.311]from an experienced designer experience,
[00:20:35.163]you could give them a role and it wasn't just a passive role
[00:20:38.088]like walk in the footsteps of Indiana Jones.
[00:20:40.366]Now you could be a citizen of Gotham City.
[00:20:42.415]You could be an agent for the Joker.
[00:20:44.342]You could help Jim Gordon investigate.
[00:20:49.124]You could help Harvey Dent investigate corrupt cops.
[00:20:51.348]You could do all of that stuff.
[00:20:52.987]And from an immersion point of view,
[00:20:54.212]it moves seamlessly across all platforms.
[00:20:56.827]And then I think as somebody just mentioned,
[00:20:59.441]there was flexibility in how...
[00:21:01.020]You didn't have to produce all of the content.
[00:21:04.327]You could see what people really gravitated towards
[00:21:06.361]and then you could adjust to what they were doing.
[00:21:08.552]So we're starting to see a progression
[00:21:11.064]and what does it take to build an alternate reality game
[00:21:14.496]or a combined real world and digital experience.
[00:21:18.181]Well now, we're starting to see something
[00:21:20.909]that's really strongly coming to the forefront
[00:21:22.893]which is experience design.
[00:21:24.584]And I really do believe as the experience economy
[00:21:27.118]takes hold, this role is gonna be super important.
[00:21:30.221]You see live performance coming in.
[00:21:32.309]You see physical objects coming back in.
[00:21:34.265]I've never seen more people happy to get direct mail.
[00:21:37.682]Which is like, what?
[00:21:39.489]You start to see mixed reality platforms coming in.
[00:21:42.289]What if you could go home and sit
[00:21:43.925]across the table from the Joker
[00:21:46.114]and he's giving you something to do?
[00:21:48.225]You're seeing responsive design.
[00:21:50.081]You're seeing that kind of
[00:21:51.010]seamless integration of technology.
[00:21:53.841]So, these are my thoughts for the
[00:21:56.546]Carson Center for Emerging Arts.
[00:21:58.446]First of all, I feel like emerging technology
[00:22:00.995]is a means to an end.
[00:22:02.419]Throughout all of our collective careers
[00:22:04.787]we've had the opportunity to have things
[00:22:06.691]that are either mature or new, coming up,
[00:22:09.559]or kind of in-between and it's the craft of how you use it.
[00:22:13.191]So as someone mentioned before, learn to learn.
[00:22:18.440]The thing that you worked your heart out on this year,
[00:22:20.600]next year it may be eclipsed by something
[00:22:22.008]that's even better.
[00:22:24.298]And then the second thing is know
[00:22:25.658]and design for your audience.
[00:22:27.633]I think you've seen that in all of the examples.
[00:22:29.705]And then the third thing is it takes a village.
[00:22:32.210]We've talked about specialization versus generalization.
[00:22:35.162]Well, the reality is is these types of projects
[00:22:38.208]take a lot of disciplines coming together.
[00:22:40.394]So my thought is not only encourage team environments
[00:22:44.903]where people come together and work on things,
[00:22:47.192]get industry partners to come in, Google, whoever,
[00:22:50.518]to say we have a project,
[00:22:51.855]let's see if your students can solve it,
[00:22:53.857]but also encourage innovation.
[00:22:56.034]Georgia Tech has a program called Create-X,
[00:22:58.617]and even if you're an undergrad
[00:22:59.904]you can go present to this board
[00:23:01.857]and they will give you money to start your startup.
[00:23:05.277]They'll give you a space in one of the technology buildings.
[00:23:08.540]And we just had a undergrad graduate
[00:23:11.272]with a startup in data security and he started with $10,000
[00:23:15.596]he now has 250 employees and his professor
[00:23:18.131]is leaving to become the CEO of his company.
[00:23:20.676]I think he doesn't need to go to graduate school.
[00:23:23.724]But it's the idea that somebody mentioned it before,
[00:23:27.443]the generation coming up have always been digital.
[00:23:31.048]They don't necessarily want to wait.
[00:23:33.512]They don't need to...
[00:23:35.369]I call us Generation W, the generation of work.
[00:23:38.176]We worked hard, we put in our dues,
[00:23:39.656]and then we got more and more opportunities.
[00:23:41.449]These guys have ideas right now.
[00:23:43.320]And then because I come from
[00:23:45.536]a cooperative education program,
[00:23:46.945]I cannot stress that enough.
[00:23:48.290]If there's strong internship
[00:23:49.968]or cooperative education programs.
[00:23:51.616]And then lastly, do it just for me.
[00:23:53.897]Have a track for experience designers.
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