Transmedia storytelling

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Transmedia storytelling, also called multiplatform, crossmedia or enhanced storytelling, is storytelling across multiple forms of media with each medium making distinctive contributions to our understanding of the story. By using different media, it attempts to create "entrypoints" through which consumers can become immersed in a story franchise's world. The aim of this immersion is decentralized authorship, or transmedial play.[1]

There are two prominent factors driving the growth of transmedia storytelling. The first is the proliferation of new media forms like video games, the internet, and mobile platforms and the demand for content in each. The second is an economic incentive for media creators to lower production costs by sharing assets. Transmedia storytelling often uses the principle of hypersociability. Transmedia storytelling is also sometimes referred to as multi modality, referring to using multi-modal representations to convey a complex story through numerous media sources.

Henry Jenkins' book Convergence Culture is a resource for further understanding the ever evolving theory of Transmedia storytelling.

Transmedia Storytelling Pioneer, Jeff Gomez, defines it as "the art of conveying messages themes or storylines to mass audiences through the artful and well planned use of multiple media platforms." Jeff furthers this explanation stating the following: "Most of us flow naturally from one medium to the next. Unfortunately most of our content doesn’t. Instead the stories are repurposed and repeated. They do not extend the franchise nor do they build brand equity. With transmedia, each part of story is unique and plays to the strengths of the medium. The result is a new kind of narrative where story flows across each platform forming a rich narrative tapestry that manifests in an array of products and multiple revenue streams. The audience is both validated and celebrated for participating in the story world through the medium of their choice." Jeff has implemented this strategy on a number of blockbuster franchises for top studios and brands including Disney, Microsoft, and Hasbro, through his company Starlight Runner. Citation: www.starlightrunner.com

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[edit] Examples

[edit] The Matrix

Henry Jenkins cites the Matrix as an example of transmedia storytelling. Jenkins explains that, "key bits of information are conveyed through three live action films, a series of animated shorts, two collections of comic book stories, and several video games. There is no one single source or ur-text where one can turn to gain all of the information needed to comprehend the Matrix universe."[2]


[edit] Batman Begins

Another example that Jenkins cites is from the 2005 movie Batman Begins. DC Comics published comic books before the release of the movie to give further background information for the movie; most of the background information was to give further details about Bruce Wayne's past. This example shows how Warner Brothers, owner of DC Comics, used multimedia sources to convey information about a single story.

[edit] Sorority Forever

In 2008, Warner Brothers partnered with online storytelling pioneers Big Fantastic to create Sorority Forever, the first original web series for The WB.[3] In addition to the episodes, a fully interactive metaverse was created and produced to provide an immersive, transmedia experience, with almost limitless entry points into the story.[4] Viewers could interact with characters in real time using MySpace, Twitter, Stickam, and other internet platforms, as well as discover additional story and character elements.

[edit] Economic incentives

Media conglomerates have an economic incentive to increase their audience base; transmedia storytelling might address this. Jenkins cites Marvel Comics as a company that has tried to increase their fan base by using transmedia storytelling to target different groups. He writes, "...for example, Marvel produces comic books which tell the Spider-Man story in ways that they think will be particularly attractive to female (a romance comic, Spider-Man Loves Mary Jane) or younger readers (coloring book or picture book versions of the classic comic book stories )."[5] Jenkins follows by saying, "Transmedia storytelling practices may expand the potential market for a property by creating different points of entry for different audience segments."

[edit] Applications for social benefit

Nonprofit organizations, social activists and artists using media for social change have an incentive to engage their audiences and stakeholders; transmedia storytelling might address, this, as well. Lina Srivastava devised the phrase "transmedia activism" to describe the possibilities transmedia storytelling holds for social change initiatives. She explains, "...in a crowded field with limited funding or distribution channels, it takes significant resources and expertise to first, create audience awareness and, second, inspire/prescribe action. There is a real and distinct opportunity for activists to influence action and raise cause awareness by distributing content through a multiplatform approach, particularly in which people participate in media creation."

[edit] External links

[edit] References

Jenkins, Henry (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press. pp. 308.  Jenkins, Henry (2006). Fans, Bloggers, and Gamers: Exploring Participatory Culture. New York: New York University Press. pp. 279. ISBN 081474284X. 


[edit] Notes

  1. ^ Stephen Erin Dinehart. Transmedial Play. USC School of Cinematic Arts Interactive Media Division Publications. 2006
  2. ^ Confessions of an Aca-Fan: Official Weblog of Henry Jenkins
  3. ^ "Warner Bros TV unveils online programming slate - The WB gets a second chance". 2008-04-28. http://www.paidcontent.org/entry/419-warner-bros-tv-unveils-online-programming-slate-wb-gets-second-chance-a/. Retrieved on 2008-05-13. 
  4. ^ "The World of ‘Sorority Forever’ Goes Way Beyond the Episodes". 2008-09-11. http://www.tilzy.tv/the-world-of-sorority-forever-goes-way-beyond-the-episodes.htm. Retrieved on 2008-09-11. 
  5. ^ Confessions of an Aca-Fan: Official Weblog of Henry Jenkins
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