IN 2012, Sony released the Wonderbook; designed for children, it promises to ‘bring to life a thousand stories in one physical book’ (Wonderbook, 2012). The first ‘book’ to be released for the Wonderbook was ‘The Book of Spells’ in collaboration with JK Rowling, ensuring her many fans and media presence would help boost sales.
It is an example of the way the gaming industry has met book publishing to create digital content designed to meet the needs of a younger, more digitally-savvy audience. Sony Computer Entertainment chief Andrew House (cited in France-Presse, 2012) called it the ‘re-invention’ of the story book while Rowling calls it an extraordinary device that offers a ‘reading experience like no other’ (cited in Price, 2012). And with Wonderbook describing it as a ‘powerful storytelling vehicle and tool’ (2012) it may sound like an innovative cutting-edge way to read, but under closer inspection is it really a new reading experience?
Critics who have tested it seem to admire the augmented reality technology, but explain it is more of a toy than a reading experience redefined (Stein, 2012). I do agree with this as I was surprised to find that it has little book properties other than a hardback cover, and there is no reading involved as the book contains no words - only ‘AR cards’ which are black and white shapes recognised by the games console to turn it to animations on screen (Stein, 2012). On top of this, to play one needs to own the Playstation 3 console, Playstation Eye Camera, Playstation Move motion controller, the Wonderbook itself, plus the game of choice (Wonderbook, 2012), making it a very costly reading experience.
It is an example of the way the gaming industry has met book publishing to create digital content designed to meet the needs of a younger, more digitally-savvy audience. Sony Computer Entertainment chief Andrew House (cited in France-Presse, 2012) called it the ‘re-invention’ of the story book while Rowling calls it an extraordinary device that offers a ‘reading experience like no other’ (cited in Price, 2012). And with Wonderbook describing it as a ‘powerful storytelling vehicle and tool’ (2012) it may sound like an innovative cutting-edge way to read, but under closer inspection is it really a new reading experience?
Critics who have tested it seem to admire the augmented reality technology, but explain it is more of a toy than a reading experience redefined (Stein, 2012). I do agree with this as I was surprised to find that it has little book properties other than a hardback cover, and there is no reading involved as the book contains no words - only ‘AR cards’ which are black and white shapes recognised by the games console to turn it to animations on screen (Stein, 2012). On top of this, to play one needs to own the Playstation 3 console, Playstation Eye Camera, Playstation Move motion controller, the Wonderbook itself, plus the game of choice (Wonderbook, 2012), making it a very costly reading experience.
Inside The Book of Spells, the AR codes. (Stein, 2012)
Another example of publishers mixing books with games is for marketing purposes, rather than being used as part of the final product as with the Wonderbook. The latest campaign from independent publishing house Head of Zeus marking the release of a new paperback involves each layer of an online game unlocking chapters from the book, and users will be led to reviews and trailers. Users are given Q&A options to help free an abducted girl, and the characters and plot of the game are all featured in the book, The Abduction, that the game is promoting (Shaffi, 2014). Harrison, the digital marketing director behind the game hopes it will ‘open the books up to a new audience’ (cited in Shaffi, 2014), and with all international digital advertising leading to the game, they hope it goes viral (Shaffi, 2014).
While the Wonderbook is a truly innovative piece of technology, to me it is still a computer game with no actual reading involved. It is a great example of how books can inspire gaming, but to me it is just that. Regarding combining games and books for younger readers, I believe it is a technique best used in the marketing process as seen with Head of Zeus, to capture the attention of digital users and then lead them to the book.
Digital games can include extra information or side-plots not included in the book, and being interactive can help readers feel truly immersed in the plot. To be most successful, I believe publishers should concentrate on creating digital games and content to compliment the book, rather than replace it entirely as seen with the Wonderbook.
Word Count: 550
Bibliography
France-Presse, A. (2012). J.K Rowling puts magic in PlayStation interactive book. Rappler. [online] Available at: http://www.rappler.com/life-and-style/6477-j-k-rowling-puts-magic-in-playstation-interactive-book (Accessed 31.10.2014)
Price, E. (2012). PlayStation’s Wonderbook Makes Rowling’s ‘Book of Spells’ Magical. Mashable. [online] Available at: http://mashable.com/2012/06/09/playstation-wonderbook-review/ (Accessed 31.10.14)
Shaffi, S. (2014). Digital storytelling for HoZ Carnivia campaign. The Bookseller. [online] Available at: http://www.thebookseller.com/news/digital-storytelling-hoz-carnivia-campaign (Accessed 02.11.14)
Stein, S. (2012). Hands on with Sony’s Wonderbook: Not a book at all. CNET. [online] Available at: http://www.cnet.com/news/hands-on-with-sonys-wonderbook-not-a-book-at-all/ (Accessed 31.10.14)
Wonderbook. (2012). Wonderbook. [online] Available at: http://wonderbook.eu.playstation.com/en_GB (Accessed 31.10.14)
While the Wonderbook is a truly innovative piece of technology, to me it is still a computer game with no actual reading involved. It is a great example of how books can inspire gaming, but to me it is just that. Regarding combining games and books for younger readers, I believe it is a technique best used in the marketing process as seen with Head of Zeus, to capture the attention of digital users and then lead them to the book.
Digital games can include extra information or side-plots not included in the book, and being interactive can help readers feel truly immersed in the plot. To be most successful, I believe publishers should concentrate on creating digital games and content to compliment the book, rather than replace it entirely as seen with the Wonderbook.
Word Count: 550
Bibliography
France-Presse, A. (2012). J.K Rowling puts magic in PlayStation interactive book. Rappler. [online] Available at: http://www.rappler.com/life-and-style/6477-j-k-rowling-puts-magic-in-playstation-interactive-book (Accessed 31.10.2014)
Price, E. (2012). PlayStation’s Wonderbook Makes Rowling’s ‘Book of Spells’ Magical. Mashable. [online] Available at: http://mashable.com/2012/06/09/playstation-wonderbook-review/ (Accessed 31.10.14)
Shaffi, S. (2014). Digital storytelling for HoZ Carnivia campaign. The Bookseller. [online] Available at: http://www.thebookseller.com/news/digital-storytelling-hoz-carnivia-campaign (Accessed 02.11.14)
Stein, S. (2012). Hands on with Sony’s Wonderbook: Not a book at all. CNET. [online] Available at: http://www.cnet.com/news/hands-on-with-sonys-wonderbook-not-a-book-at-all/ (Accessed 31.10.14)
Wonderbook. (2012). Wonderbook. [online] Available at: http://wonderbook.eu.playstation.com/en_GB (Accessed 31.10.14)