Creatavist is a web-based storytelling platform developed by the media and software company The Atavist. Since 2009 The Atavist has used its Creatavist platform to produce and publish original long form narrative stories for the iPad. Now available in open beta, Creatavist offers tools for a variety of digital projects – from producing online books, magazines and video projects to even building your own app (as did the Paris Review and TED Books).

However, the most interesting feature of Creatavist for journalists might be the possibility of creating online multimedia specials that make use of parallax-scrolling effects – or short Scrollitelling as Benjamin Hoguet, co-founder of Djehouti (the company behind the storytelling software Racontr) likes to call it.

The acclaimed Snow Fall by the New York Times is probably one of the most popular and most praised “Scrollitelling” projects. However, since its publication, a lot of other multimedia stories have popped up, such as Killing Kennedy by National Geographic or the recently published NSA files decoded by The Guardian – just to name a few. Even though these specials are impressive, it is not as hard as one might imagine to create projects comparable to those mentioned. And using Creatavist combined with a bit of time and patience is definitely a good way to start.

An easy start

Once you sign up for a free Creatavist account, you’re just a click away from creating your first project. The interface is quite self-explanatory. One important thing to note is the way Creatavist projects are broken down into Chapters. While creating a chapter you can choose between four different types of media: text, video, image and PDF.

However, the chapters feature shouldn’t be confused with chapters in a book. In Creatavist each chapter represents a different form of media. So if you decided to do a multimedia story that includes an article, a picture gallery, a video and a PDF, you may end up having four chapters – one chapter for each medium. This is just one possibility. Creatativst also allows you to add different media within a chapter – assuming you had chosen the text option for your chapter.

Text Chapters offers most features

The text-based chapter is by far the most interesting one because you can add almost any kind of media. In our test project Der Schürmann-Bau we decided to create five chapters, three text-based chapters (where we used one text-based chapter as a container to add a map), one picture gallery chapter and one video chapter.

The text chapter allows you to add all kinds of extras such as images, videos, sounds, PDFs, links and interactive maps. Creatavist also offers a Timeline feature that highlights an important date and a Character feature that shows a short description of a person important to the story. Within the text chapter it’s also possible to switch to the HTML source code in order to make quick changes.

Videos, images, PDFs and comics

If you choose the Image chapter, you can opt between making a chapter out of a single image or slideshow or you can choose to add a picture gallery. For picture-driven stories this feature might be quite appealing. Video chapters are built by embedding a video from platforms such as Vimeo or YouTube or by uploading a video to the Creatavist platform. An interesting feature here is that the video chapter also supports comics with frame-by-frame navigation.

Finally, the PDF chapter allows you to include PDFs into your web special – no more, no less.

Interestingly for all types of chapters, you can also upload music or audio files to create an atmosphere, choosing how and where they should be played.

Wanted: Journalists with coding skills

However, there is one chapter type I have not mentioned so far. It is called Template and it’s probably the most powerful one – at least to those journalists who know how to code.

Journalists with skills in CSS, HTML and JavaScript can place their code and build interactive chapters and extras to their own specification. Exactly for that reason Creatativst offers the Atavist Development Kit that helps to implement ideas beyond the standard chapters.

Export made easy

No matter if you want to publish you project as an iBook, Kindle edition, Kobo, Nook or ePub and of course a version for the web – Creatavist does it for you. All of the formats are produced within a minute. Before the publishing it shows the different file sizes of your project versions (if you, for example, decided to publish a smartphone version and an iPad version).

Creatavist also offers the opportunity to exclude chapters from ebook files, or exclude them from apps or hide chapters on the web. That feature could be interesting for journalists who wish to publish different versions of their project. They could, for instance, make a chapter exclusively for iPad users only. Once you know what and in which way you would like to publish your project, Creatavist provides you with a link to the web version, and direct download links for the other versions. You are also able to publish your project to the Creatavist iPad app.

A few drawbacks

While trying out Creatavist, we liked the usability, functionality and the range of export options. We managed to do our multimedia project with Creatavist almost within a day. I took some time to get used to the interface, but once we got the idea, it was easy to apply and to add different types of media.
However, there are some drawbacks. As a free user you will only get limited access and your projects can not exceed 150 MB in total. “Der Schürmann-Bau”, with only a few features, already took up 54% of our account. Therefore, a bigger multimedia project would have not been possible with a free user account.

If you wish to stick out with your Scollitelling, you probably need to know some CSS, HTML and JavaScript skills. Otherwise your project will just look like any other Scrollitelling project in the world. Thanks to the Atavist Development Kit, Creatavist offers the opportunity to customize chapters. However, without coding skills journalists are forced to use standard templates.

Overall Creatavist provides a range of opportunities to establish quite a good-looking multimedia story. After getting used to the interface, it is quite easy to add and edit media. But when a project requires something additional — a unique layout for a chapter or some other interactive features – a journalist without coding skills might encounter problems.

What else should journalists know about Creatavist?

Cost: Once registered, a user can produce the first piece for free, however with limited storage (150MB). Unlimited storytelling costs $10 per month including the bandwidth for video with a limited storage of five GB. The $250 per month packages includes the creation of a branded app for iPhone and iPad, unlimited storage and the sale of periodicals by subscription.

Publishing: Creatavist publishes your project as an iBook, Kindle, Kobo, Nook or ePub, web or app version.

Support: The team behind Creatavist provides a free documentation on how to use the tool. It also lists an email address for questions: support@atavist.com.

Languages: The Creatavist interface is only in English.

Author: Daniela Späth

“What Snow Fall indicates, is that in 2013, major media organisations are catching up to what the web does and are starting to present their information in ways that are much more friendly to digital spaces, and therefore more accessible from the huge range of devices you can get online with.”

The NYT has since employed the Snow Fall scrolling style of design in a number of features and the latest one produced for the New York Times Magazine is worth a look.

A Game of Shark and Minnow   documents the geopolitical battle over the reefs and islands forming the Spratly Islands in the South China Sea – namely between The Philippines and China. But the story is brought vividly to life by taking us inside a WWII era naval ship aground on Ayungin Shoal (105 nautical miles from the Philippines) that is home to several Filipino marines defending a submerged reef in the name of their country, and who are simply trying to survive.

It’s an absorbing story written by journalist Jeff Himmelman. A classic magazine #longread with excellent photography by Ashley Gilbertson who also shot video. But it’s also well suited to the scrolling style of visual storytelling developed in-house by the NYT that has gone on to influence other publications.

Graphics, looping video clips (or “moving stills” as the NYT likes to call them) and photographs are introduced at the appropriate points to complement the text. The story is also divided into chapters with a straightforward means of navigation from the menu at top of the screen.

If you’re interesting in working with a tool that can replicate the scrolling design style, Scroll Kit might be something that you are looking for.

And the background to A Game of Shark and Minnow also makes for good reading.

Author: Guy Degen

The full study PDF can be downloaded here.

Why do we struggle with the term “multimedia”? And why is “visual storytelling” more appropriate?

All terms are flawed and language has multiple interpretations, but one of the things that we set out to do was not to define anything. We’re not interested in defining multimedia as X or as Y. It’s too limiting. There’s too much creative stuff going on and it’s got to be broad, it’s got to be open, it’s got to be prepared to learn from many things. So visual storytelling is the attempt to say that this is probably the most open concept that we have for this, at the moment. Because it’s not defined by a platform, it’s not defined by tools, it’s defined by purpose and there are different purposes from spot news to background to information and magazine style features, etc. But whatever your purpose, it can be understood in that framework.

One of the things about the study is to actually say that all media is multimedia. If you look at media organisations now, it doesn’t make sense to talk about organisations as either just newspapers or broadcasters, because very few large national or global organisations that we would’ve formally called newspapers are simply not operating on a print platform any more. They’re in a web-space, they’re in a digital space, as well as on the print platform. And therefore all of their media is multimedia. The question is: which platform gets which audiences better, and which tools on which platforms tell parts of stories better?

From what we’ve learned about how the New York Times produced its highly acclaimed Snow Fall feature, there were lot of people working on it over several months – rather like TV, a very labor intensive production. Is good visual storytelling going to be produced only by the large media organisations or by organisations that can afford to buy in from independent producers?

Just on that last point first, we found in the study that news organisations don’t buy in from independent production companies. They produce in house, 90% of the stuff produced in-house. The best we found was 70% in house, 30% from outside. So they are very much going for in-house teams, salaried teams to produce multimedia. That leaves independent producers in a difficult situation in relationship to them – there’s not much licensing of external stuff going on for a variety of reasons.

Snow Fall is a fantastic thing for us to pick our way through. I think the New York Times throws resources at things and it’s great that they do that, and it produces experimental material and so on. But it’s not necessary to do it at that scale to be effective. There is someone in fact who has produced a template that allows you to do a “Snow Fall” type of thing as a WordPress plugin that you as an individual can work with. Okay, it’s not going to be quite as flash as the New York Times but it’s going to get you two thirds or three quarters of the way there. It’s called Scrollkit.

And I think there’s a huge range of tools out there that allow individuals and smaller groups to do that. I don’t think you need to throw the New York Times scale of resources at it. I mean the audience numbers for Snow Fall are a bit misleading, because it was promoted on social media as a great format, as well as the great story. So a lot of people looked at it for how it was put together as much as what the story was saying. So, we don’t know if left to its own devices what would the story have attracted. Again, either on the business side or on the creative side, we’re not going to have single models that will rule. It’s not the case that every type of story will have to follow a “Snow Fall” type format. It might work for large magazine style features where you have time and rich resources to work with.

And, on one level Snow Fall in itself is not radical. What it does is two things. One, it gives you a scrolling experience, everything simply flows, and that represents how we’re accessing information in terms of the stream rather than the idea of the page, or a digital site, where you have to click from one to two to three to four to five. Because the studies show that every time you ask someone to click you loose people. And so when you have that scrolling experience, and that stream experience, you can keep your audience with you. That’s the first thing, and that’s actually the logic that is behind a number of redesigns. Reuters, NPR and the New York Times itself in the autumn is going to launch a whole new look and digital space that’s going to be based on that idea of the limitless page of the stream. Now, for people like us who write on blogs, there’s nothing novel. That’s the blog page. But this is not normal for an organisation that has had a content management system with a print mentality that has organised everything as pages. And this is a very different sort of approach. So, you get a more white open space, minimalist look with the text.

The second thing it does is use non-text elements in the appropriate place in the story when it has got the resources. So you don’t have a text page and then the sidebar with “see video” “see audio” or whatever. You have the scrolling streaming experience and when it’s appropriate to show you the audio of the 911 call, you do it in the middle of the page, then you keep reading the text. And when it is appropriate to show you the video of one of the people being interviewed, you do it in the middle of the page. And again, nothing new for people who work on blogs embedding video into the pages of your stories, but very new for a traditional media organisation who have had content management systems where they have not been able, for example: embed video on their homepage – even a major newspaper. That’s because you built a content management system based on a print structure and then migrated it to the web.

What Snow Fall indicates, is that in 2013, major media organisations are catching up to what the web does and are starting to present their information in ways that are much more friendly to digital space, and therefore more accessible from the huge range of devices you can get online with. Some media organisations are finding that there could be some 2,500 different mobile devices trying to access their sites – all with slightly different capabilities. So, this is where responsive design comes in to make that possible. That’s a major thing to think about and Snow Fall is an example of that. So it is a good example of those trends, but it’s not as some people have mistakenly read it as the model that every story will have to follow.

What about off the shelf platforms such as StoryPlanet for visual storytelling, is that a way forward?

Potentially yes. In the report there are at least eight or nine platforms or tools that are kind of like Storyplanet – there’s one called Klynt, and one called 3Wdoc. And this is what’s happening, people are putting together tools that mean you don’t have to be a coder yourself, but you will have flexible ways of presenting your material in a digital space. The point is, this works for some stories, it’s not for all stories. Your story has to have depth, it has to have branches in terms of its own content, and you have to have the resources to do that. Storyplanet works on the basis that you have a story spine. If you have that material, you can go out and build a more complex story.

SOS Children’s Villages project using Storyplanet

The other thing about those sorts of approaches is that you’re asking a lot from your audience. You are asking the audience to commit a lot of time. And I think it’s very important to understand that audiences are very happy to commit a lot of time when they are engaged. This idea that we live in superficial way, and there’s distraction and that no one is reading any more is I think demonstrably false. And empirically wrong. But if you put every story into a Snowfall or Storyplanet format, you would be demanding that everyone spends 15, 20, 30 minutes with it. Now, we did not do that with print. Sometimes we went into the magazine section and spent time, and sometimes we skimmed the news quickly at the breakfast table – just like how we now skim Twitter quickly for a link or something like that. So I don’t think that behaviour has fundamentally changed, nor is the Internet age making us more shallower or more distracted. But these things are not the templates for every type of story. Because you can’t expect every type of story to command 15 minutes of people’s attention.

So for me, that’s one of the big things that storytellers have to think about: how can you have different formats or different parts of your story going out into different networks, so that you can bring those people who want to commit that time back to a place where you give them the full richness, context and complexity.

What impact are mobile devices having on multimedia or visual storytelling, or presenting your story using an app?

Yes I think everyone telling a story needs to think how their story will work in terms of mobile. That is: how it can be accessed through mobile devices. Linked to that is thinking how it works in terms of social: bits that can be shared and distributed by people. And that makes big interactives difficult. Because you can’t share a whole interactive, you can only share a link to it. But you can share a 45 second video or a five minute video. So, you might want parts of your stories in those formats, making it easy for someone to embed that video in their Facebook page, and then bring people back to the full site to experience the full richness of it. So it’s mobile, social and what I kind of think of as modular: you need to think of your stories as having components. And all of those components give you the full richness of the story. But you want little elements of that story to be able to break off and to travel.

And what about producing content specifically for mobile devices? For example, selecting photos or producing video that looks better on smaller screens?

Precisely. It may be that the small text paragraph becomes the most important thing to get you into a story, and then later be presented with more material for that. The Washington Post found that with trying to put one of their big investigative stories onto a Blackberry – it took 46 screens to do it. And they said no one is going to go through 46 screens to read it so how are we going to tease them with something on the Blackberry that says: “Big issue, important issue, come back here or when you get home get your iPad out and have a look.” I mean what’s interesting about mobile devices is that most of them are used in the home. We think that everyone is out on public transport using the mobile, and that does take place, but the greatest use of mobile devices is at home. And that’s because people at work might use their PC’s or their laptops, and they might see things , and then they go home and they use a tablet or something. And the more people are using these mobile devices, the more information they are actually consuming, and the more long form information they are consuming. So, just because they first encounter it on a smart phone does not mean they only want the tweet or they only want that paragraph. It actually gets them into consuming more and more long form content. And that’s a really important thing. All of this is coming together to drive certain people to engage with material over a longer period of time and at a greater depth. Organisations like the Wall Street Journal conclude that people are spending as much time with their iPad app as they would have ever done with the newspaper. And I suspect in the next couple of years it will be much more time.

What models for financing visual storytelling projects should journalists and media organisations be looking at?

There are two things to say firstly. One is the old model is dead, which is why organisations are in trouble. The historical perspective is important. What we now understand is all good journalism was always subsidised. It did not pay for itself directly. People were not asked to pay for it directly, and it was subsidised by advertising. It’s an obvious point at one level but it’s really important to keep in mind because now what people are saying is: “why don’t people pay for journalism? Why don’t I pay for this individual article or whatever?” Well historically you have not been asked to, and historically it’s been subsidised by advertising. And that’s because newspapers were the best way for advertisers to reach a mass audience.

Now newspapers were declining, and circulation from the 1950s, because every time they encountered a new technology such as radio or TV, the circulation went down. But certainly the disruption of the Internet has really transformed advertising. The great crisis now is not so much a crisis in journalism, because in journalism as a practice there’s more great journalism from around the world but it it’s in different places. There is more great stuff being written, shot, produced than at any time. It’s just not necessarily coming out in major media organisations all being paid for in a big way.

The crisis is a crisis in advertising. And that’s what’s falling off a cliff in North America, and has been declining everywhere else and the graphs and studies show that when you get to 2000 and “kaboom!” – we’re talking about losing about 20 or US$30 billion out of the industry in the space of a few years. And that’s what’s really undercut journalism. We have to understand that journalism was always crossed subsidised. So where is it going to find its next cross-subsidy? Well, some of it will still be advertising, some of it will be direct reader or viewer contributions from readers paying for apps and so on. But what people pay for is not really the content directly, what they pay for is the user experience. And then there will also be collaborations with other organisations and so on.

We can’t be searching for a single business model. We can’t be searching for a pot of gold. We’ve got to think about how advertising, subscription, sponsorship, transaction, and partnerships come together for organisations that want to produce good journalism.

So we can’t approach this question as: “OK I want to do a Snowfall story who is going to pay for it?” But it should be who can we partner with to make this possible? And we’re going to have to have a range of partners or collaborators to make that possible. Because it’s not going to be approached as a single commodity to buy – even by media organisations, as they are tending to produce these things in-house.

You have to approach it from the question of indirect, cross-subsidy, and you’ve got to look at from four to five different revenue streams. And then each organisation has to work out what it can do in its own context.

From your research, what’s your advice for journalists wanting to embrace visual storytelling?

You have to understand that you’re operating in a global digital space, and you need to have your own part of that digital global space and connect to networks. That’s going to involve collaborations for producing things, and partnerships for distributing things, and you need to think about where the audience is.

We apply the word “multimedia” in many different ways – from describing types of stories to job titles to categories of awards to sections of websites to journalism courses and workshops, and yes, even the category of this blog post.

A common starting point for discussing “multimedia” is usually something to do with stories using a combination of photography, audio, video, text and graphics.

But is that precise? Is a book with text and pictures “multimedia”? Why is a video story frequently considered to be “multimedia”? And, if we present our audience with the same story but in different versions – audio, video, or text and photos – is that also “multimedia”?

In a blog post entitled I Hate Multimedia, MediaStorm’s Eric Maierson recently summed things up by saying “multimedia” can mean anything, it just depends on whom you ask.

‘The real issue is that “multimedia” is too small. It distracts and limits the possibilities we should be embracing.’

But while “what is multimedia?” is an ongoing and contentious debate, there is a sense that media professionals want to move forward. Especially at a time when technology, such as smartphones, tablets and social media, offer new storytelling and distribution possibilities and place even more pressure on the business models of older media, and media professionals who are struggling to adapt.

So, where to next for “multimedia”?

Where disciplines intersect – the concept of “visual storytelling”

Dr David Campbell’s recently published study “Visual Storytelling in the Age of Post Industrialist Journalism” is essential reading to understand the current state of “multimedia”.

There are six videos that accompany the study featuring interviews with a range of experts including Brian Storm (MediaStorm), Grant Scott (Hungry Eye), Marguerite Howell (The Economist), Bjarke Myrthu (Storyplanet) among others. All well worth watching.

In the introduction video below, Campbell says the aim of the research was “to take the pulse” of what’s happening globally in this field and to start a conversation about “multimedia”.

An Introduction to the Multimedia Research Project from World Press Photo on Vimeo.

Although the study is examining “multimedia”, when it comes to working out a definition, Campbell questions whether seeking “any single definition” is productive:

“Multimedia cannot and should not be defined as single genre. It involves a combination of images, sound, graphics, and text to generate a story, and it appears in multiple forms from online photo galleries where pictures are combined with text captions, to audio slideshows, linear video (both short-form and long form), animated infographics, non-linear interactives, and full-scale web documentaries and broadcast films.”

Instead, Campbell sets out the argument that there is a new media space where various disciplines gather around the concept of “visual storytelling” and share a common purpose in image-orientated reportage. Importantly he describes an intersection of disciplines, not the creation of a new visual genre. As he writes:

“Photojournalism, videojournalism, documentary film, cinema and interactive storytelling intersect, not to create a new visual genre, but to combine their respective strengths in image-orientated reportage, in many forms and across multiple platforms.”

Campbell’s study was conducted under the auspices of the World Press Photo Academy and FotoFederatie, so yes it does lean towards approaching visual storytelling from a photojournalism perspective. But this by no means a drawback.

Along with a downloadable PDF of the research paper Campbell offers more follow up posts on his website.

In Part 2 of Visual storytelling and moving beyond ‘multimedia’, we’ll talk to  Dr David Campbell about his research and trends in visual storytelling.

Author: Guy Degen

From a playable political cartoon to a simulation of Osama bin Ladens death – newsgames are embraced by the media to playfully engage the audience in important events. In other words, newsgames are games put to use in the context of journalism.

“Newsgames will not replace classical approaches to news but they can and will enhance and augment digital journalism in the 21st century,” says Marcus Bösch.

The freelance journalism trainer has led numerous workshops for DW Akademie and is the co-founder of The Good Evil game studio. DW Akademie’s Natalia Karbasova spoke with Marcus Bösch about the idea behind newsgames, best practices and the future of newsgames.

How can newsgames be helpful for media outlets?

Newsgames can provide playful and interactive experiences that help explain, clarify or strengthen journalistic arguments – whether a simulation of complex scientific issues, a playable version of the national budget or an interactive political commentary. Games are very strong when it comes to explaining systems while traditional ways of reporting are very good at telling stories. Another huge advantage is that games are truly interactive. They show their unique strength when you compare them to the so-called webdocs make when it comes to interactivity. Good games engage players, keep them busy and let them learn something.

Do newsgames have to be as elaborate as video games?

I was very critical with all the existing examples I saw until I heard the arguments of the game designer Eric Zimmerman at this year’s Games for Change festival. Zimmerman argued that we don’t look for the same kind of world-changing effects from documentary films or books, and we don’t discuss bookification or the merit of books as educational tools. He argued that video games do not deserve this kind of scrutiny, and holding them to these higher standards is ‘like saying a medical simulation for training doctors should also cure cancer’. That actually convinced me. The genre is still in the making and I applaud nearly every attempt ever taken to push things forward.

Where can you learn more about newsgames?

Florent Maurin´s List is a good starting point. Apart from that, I like Thomas Rawlings’games. Gonzalo Frasca who somewhat coined the whole concept should be on the list as well. And then there’s Wired´s Cutthroat Capitalism, a gamelike economic analysis of the Somali pirate business model.

There’s also a game Could you be a medallist by The Guardian, in which anyone can compare their performance in four Olympic disciplines with that of top athletes of different years. You could also check Moral Kombat, the Obama vs Romney debate game by the Huffington Post and a fun interactive article Just One More Game by the New York Times.

For those interested, I would recommend the book Newsgames. Journalism at Play.

What’s going on in the international newsgames community?

As far as I can say, Germany is a blind spot when it comes to newsgames. I do not know of any German newsgames that have been developed in the last years and I don’t know of any media outlets really digging into it.

Maybe this will all change after several events this year with the RTL Summer School focusing on the topic, a newsgame-panel on the Gamescom and this year’s Scoopcamp.

Internationally, the situation is quite different. Different US and UK media outlets have been trying out the concept for years. There was a huge Hackathon at the New York Times headquarters in April and you have developers like Game The News in the UK. There is also a strong Brazilian newsgames community and the newspaper Le Monde in France has accomplished a newsgame, to name a few.

What knowledge and technical skills does a media outlet need to develop newsgames?

Many modern media outlets bring together programmers and members of the editorial team. To accomplish a game, you need a game designer who develops the idea, a programmer who makes things work technically and a designer who makes things look good. When it comes to newsgames, an editor and a game designer should work on the concept together in order to choose suitable game mechanics.

What are the main components a game should posess in order to be popular with the public?

Is journalism supposed to be popular? In my opinion, a good newsgame like a great piece of traditional journalism should provide you with new insights, a learning and a crucial experience. The major goal of a newsgame is not necessarily to attract millions of players. Even though a fitting game mechanic smartly implemented that supports intrinsic motivation via meaning, mastery and autonomy can help.

What are typical mistakes which occur while producing newsgames?

The most important lesson is: Not everything is a game nor can it be squeezed into the concept of a game. Another common mistake is to underestimate the effect of a suitable game mechanic. The mechanic is the core carrier of meaning. Apart from that it is very easy to get lost in the ever-nerv-wrecking triangle of cost, time and quality. If your game copes with actual news it should not take months to finish it.

Does the development of new devices like Google Glass bring new perspective to newsgames?

I am convinced that everything is or will be mobile pretty soon depending on the place on earth where you stand. I do not know if Google Glass can really catch up to the hype there is right now. There have already been attempts to use Google Glass for newsgames – even though these are very early ideas. Mobile and or wearable devices bring great opportunities for gaming in general and I’m very curious to see who will succeed embracing these new chances. Next to wearable devices sensors, drones provide even more ways for adding game mechanics to ordinary things like, let’s say, jogging.

What is in your opinion the future of newsgame?

Right now the usage of games spreads outside the bounds of the traditional games industry. Games and simulations are already used for training, education and preparation for future wars while the buzzword gamification startles advertisers and businessmen. It sounds strange to me that journalism of all things should remain one of the few spots that is not touched by games at all.

While adopting new and crucial rules and ways of doing journalism in the 21st century media outlets should embrace games in order to be capable of providing meaningful and interactive experiences. I‘m sure that we will see more trial and error in order to experience stunning new ways of journalism pretty soon.