When magazines have to rely on branding alone, the app icon takes on great significance, competing with a wide range of other media. New methods will need to be employed to ensure titles stand out from the crowd
Since the launch of the Apple iPad six months ago, the world of digital magazines has seen fevered activity and hyperbolic punditry.
Big names such as Wired, Vanity Fair, Time and Popular Science (which our studio, BERG, helped to bring to the iPad with the Mag+ platform) have released editions into the App Store and made proclamations that it’s the future of magazines.
However, the very term “digital magazine” smacks of “horseless carriage”, Marshall McLuhan’s term for an in-between technology that is quickly obsolete. While nothing is certain about the future of any media, there is no doubt that the digital tablet form will grow in popularity, with the iPad being joined later this year by numerous other (possibly cheaper) competitors mainly powered by Google’s Android operating system.
So, what does the future really hold for digital magazines? We can identify some challenges and some opportunities. One certainty is that the manner by which we discover and purchase magazines will be given a hefty thump by the switch to digital. We are in a world of search rather than browse – which perhaps in turn leads to a change in the role of cover design, from “buy me, look what’s inside” to “you know what’s inside, but here is an incredible, evocative image”. In many ways it’s a return to the “classic” magazine covers of the 1950s and 60s, privileging the desirability of the object itself rather than shouting about every feature.
The bounded “object-ness” of the magazine embedded in the world of the endless, restless internet is seen by most as an anachronism, but it is also one of its greatest attributes. Research we received from our client Bonnier as part of the brief for the Mag+ concept indicated that people really were attached to the magazine as a form of media that creates a bubble of time to indulge in reading – and as a contrast to other, faster forms of media. Meeting this need – while acknowledging the breadth, speed and interconnectedness of the internet – is a design condition that has not been satisfied fully by the current crop of digital magazine offerings, our efforts included. But stay tuned.
Another change in what we might term the “attention economics” of digital magazines is that their new neighbours in the app ecosystem are not other magazines, but games, spreadsheets, supermarket delivery apps, photography apps and so on. One device is now the conduit for vastly different activities and experiences. And yet – at least in the current user-interface paradigm of Apple and Google – they all get pretty much the same real estate on screen. You have to decide between killing time with a magazine, playing Angry Birds or ordering your Ocado delivery based on the same visual evidence.
Perhaps future iterations of mobile and tablet operating systems will have a more media-led approach, as evidenced by the new Windows Phone 7 mobile operating system (yes, that’s right, Microsoft has made a more media-centric user interface than Apple) – leading to magazine icons being bigger or more varied on the media surface (see caption on page 39).
Still, having such vastly different neighbours nestling so close creates a new context for an old form that has heavier production costs than its new competitors. A casual game developed by five people commands the same attention of a magazine produced by 25. That is remarkably imbalanced, but don’t think these attention economics will stand. The production and form of the magazine cannot fail to be affected. Internet-native publishers such as gadget expert Gizmodo, fashion maven The Sartorialist or critically minded gamer Rock, Paper, Shotgun are smaller and nimbler. And eventually they’ll be able to publish to the same canvas as the big boys and girls – and be able to charge for their expert curation and commentary.
Which brings us to some of what I’ve started to call “two-star problems”. In the consumocracy of the App Store, star ratings are all, and unfortunately most of the current magazine offerings have only two stars, compared to the four- or five-star world of games and other apps. Even Wired and, I’m sad to say, Popular Science garner a “must-try-harder” three stars. Consumer dismay at customer service, reliability, consistency, pricing and the overall offer seem to lead to these relatively low ratings. Consumers’ expectations are determined by the value they see offered by software producers compared to traditional media producers.
So where to head? What are the opportunities? I think they are supplementary to what magazine publishers see as their existing strengths in writing, curation and design. They will emerge from their less glamourous but equally deep knowledge of subscriptions, service and “belonging”.
Take the best of what you understand of your readership and the decade or so that many magazines have spent on the internet and look to exploit the social technologies of the web, rather than run to present your content as an isolated recapitulation of a mid-1990s CD-ROM.
Create hybrids and experiment – not with the empty (and costly) spectacle of embedding jarring 3D and video, but with data, visualisation, sociality, location-based services, semantic technologies.
There’s no reason that the feel of a well-designed, valuable, curated object shouldn’t be complemented when placed properly in the roaring, sparkling stream of the internet. And experiment not just with editorial content, but also with advertising. I’d rather have a live link to the latest Amazon price for a camera than a spinning 3D video of it.
Tablets promise to be transformative – in their context of use and how well they can display content – but they do not wish away the disruptive challenge (and opportunity) the internet presents to magazine publishers. This is the beginning of a tumultuously exciting time for magazines and those who produce them – not an end to the “free-for-all” of the web as many would love to believe. More experimentation, not less, is what’s called for. As a reader and a designer, I’m looking forward to that.
Wired has employed tactics such as 3D scrollable film characters to attract attention