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the impact each medium has differs from medium to medium. Before social media, radio and print media were the primary medium to connect with an audience. With the advancements in technology, social media has become the go-to medium to reach a large group of people in a fast amount of time. In the ideal form of TS, “each medium does what it does best — so that a story might be introduced in a film, expanded through television, novels, and comics, and its world might be explored and experienced through game play. Each franchise entry needs to be self-contained enough to enable autonomous consumption. That is, you don't need to have seen the film to enjoy the game and vice-versa.”
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emergence of this new culture which shifts the spotlight of literacy from being one of individual expression to one of community. Whether we see it or not, Jenkins notes that we live in a globally connected world in which we use multiple platforms to connect and communicate. Using transmedia storytelling as a pedagogical tool, wherein students interact with platforms, such as
Twitter, Facebook, Instagram, or Tumblr permits students' viewpoints, experiences, and resources to establish a shared
838:
obvious applications of thie concept. Transmedia maintains that there's a 'bigger picture opportunity' to punting a big picture to additional platforms. Transmedia theory, applied to a movie launch, is all about promoting the story, not the 'premiere date of a movie starring...' In an industry built on the conventions of 'stars sell movies', where their name sits above the film's title, transmedia thinking is anti-conventional and boldly purist."
352:—is an emerging subject. Because of the nature of new media and different platforms, varying authors have different understandings of it. Jenkins states the term "transmedia" means "across media" and may be applied to superficially similar, but different phenomena. In particular, the concept of "transmedia storytelling" should not be confused with traditional cross-platform, "transmedia"
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framework for the constructivist educational pedagogy that supports student centered learning. Transmedia storytelling allows for the interpretation of the story from the individual perspective, making way for personalized meaning-making - and in the case of fully participatory projects - allows participants to become co-creators of the story.
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Transmedia storytelling is apparent in comics, films, print media, radio, and now social media. The story is told different depending on the medium. With social media, the story is told differently depending on which social media platform someone uses (Twitter, Facebook, Instagram) The scale in which
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creates a complex semiotic device for generating multiple implicit consumers who can be classified according to their relationship with the media. At the first level, there are single text consumers or those who just read the comic or play the video game. The consumer can understand the story without
851:
However, transmedia storytelling isn't used much at lower education levels. Children would thrive using transmedia storytelling worlds in their learning, but many of these worlds have copyrights linked to them. Transmedia storytelling has yet to tackle learning and educating children, but there have
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have "pretty much lined McKee's argument up against a wall and shot it". Pont goes on to argue, "Parallel and non-linear timelines, 'multi-verses', grand narratives with crazy-rich character arcs, 'back-story' has become 'more story', the opportunity to add
Byzantine layers of meaning and depth. You
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From a production standpoint, transmedia storytelling involves creating content that engages an audience using various techniques to permeate their daily lives. In order to achieve this engagement, a transmedia production will develop stories across multiple forms of media in order to deliver unique
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In "The Better
Mousetrap: Brand Invention in a Media Democracy" (2012), Pont explains, "Transmedia thinking anchors itself to the world of story, the ambition principally being one of how you can 'bring story to life' in different places, in a non-linear fashion. The marketing of movies is the most
1426:
Warren, S., Wakefield, J.S., and Mills, L. "Learning and
Teaching as Communicative Actions: Transmedia Storytelling", in Laura A. Wankel, Patrick Blessinger (ed.) Increasing Student Engagement and Retention using Multimedia Technologies: Video Annotation, Multimedia Applications, Videoconferencing
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Transmedia storytelling mimics daily life, making it a strong constructivist pedagogical tool for educational uses. The level of engagement offered by transmedia storytelling is essential to the Me or
Millennial Generation as no single media satisfy curiosity. Schools have been slow to adopt the
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Both traditional and dedicated transmedia entertainment studios have fully integrated and embraced transmedia storytelling techniques into entertainment culture. It began as a search for a new storytelling form, native to digital content and communications channels. Developing technologies have
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that is enticing, engaging, and immersive, catching the millennial learners' attention, ensuring learners a stake in the experience. Transmedia storytelling offers the educator the ability to lead students to think critically, identify with the material and gain knowledge, offering valuable
761:
Shannon
Emerson writes in the blog post "Great Examples of Multiplatform Storytelling" that transmedia storytelling can also be called multiplatform storytelling, transmedia narrative, and even cross-media seriality. She also cites Henry Jenkins as a leading scholar in this realm.
847:
and Marc Ramos say "At the core of every training challenge is a good story waiting to be told. More and more, these stories are being told across a multitude of devices and screens, where they can reach learners more widely, and engage with them more deeply."
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originated on Fox as a TV series but within a few years, it had generated a complex network of comics, video games, books, mobile episodes, etc. around the main character Jack Bauer and the Los
Angeles Counter Terrorist Unit (CTU). Scolari writes that
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In "Ball & Flint: transmedia in 90 seconds" (2013), Pont likens transmedia story-telling to "throwing a piece of flint at an old stone wall" and "delighting in the ricochet", making story something you can now "be hit by and cut by".
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Houston Howard describes transmedia storytelling as “the art of extending a story across multiple mediums and multiple platforms in a way that creates a better business model for creators and a better experience for the audience.”
1444:
400:. Transmedia storytelling exists in the form of transmedia narratives, which Kalinov and Markova define as: "a multimedia product which communicates its narrative through a multitude of integrated media channels".
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where multiple characters and plot lines can be sustained for a longer period of time. In addition, Jenkins focused on how transmedia extends to attract larger audiences. For example, DC Comics releases
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In "Digital State: How the internet is changing everything" (2013), author Simon Pont argues that transmedia storytelling is a theory that is at last starting to find its practical stride. Pont cites
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in 1996. This ARG included working voice mail phone numbers for characters, clues in the source code, character email addresses, off-site websites, and real locations in San
Francisco.
514:, a video game series created by Bungie and currently developed by 343 Industries that has evolved to include novels, comic books, audio plays, live action web series and an upcoming
745:(Story, 1998) argues that back-story is a waste of time (because if the back-story is so good then this is surely the story worth telling), Pont proposes that storytellers like
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pieces of content in each channel. Importantly, these pieces of content are not only linked together (overtly or subtly), but are in narrative synchronization with each other.
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658:, There are video games, television shows, and card games all that use Pokémon as a center and point of entry. There is no one text that is the origination of the
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214:
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Tvorun-Dunn, Maxim (2022). "'I am he as you are he as you are me and we are all together' Transmedia convergence of the
Beatles' psychedelic years (1966–1969)".
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227:
220:
582:, an independent project about a non-colonial steampunk world, told across graphic novels, live events, online and a feature film created by Yomi Ayeni.
1401:
Jenkins, H. "Transmedia
Storytelling and Entertainment: An Annotated Syllabus", Continuum: Journal of Media & Cultural Studies, 24:6, 943-958 2010.
530:, a Canadian television series with a real-time transmedia (alternate reality game) extension that took place in sync with the episodes as they aired.
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before the release of its related films so the audience understands a character's backstory. Much of transmedia storytelling is not based on singular
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Scolari, Carlos A.; Bertetti, Paolo; Freeman, Matthew (2014), "Conclusions: Transmedia Storytelling and Popular Cultures in the Twentieth Century",
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Bernardo, Nuno (2011) The Producer's Guide to Transmedia: How to Develop, Fund, Produce and Distribute Compelling Stories Across Multiple Platforms
576:, transmedia sitcom by Fine Brothers Productions as part of YouTube's original channels initiative, one of the more robust transmedia experiences.
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enabled projects to include single-player experiences in addition to real-time multiplayer experiences such as alternate reality games such as
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481:. While the list of current and recent projects is too extensive to list here, some notable examples of transmedia storytelling include:
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The origins of the approach to disperse the content across various commodities and media is traced to the Japanese marketing strategy of
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and Transmedia Storytelling (Cutting-edge Technologies in Higher Education, Volume 6), 2013, Emerald Group Publishing Limited, pp.67-94
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The Producers Guide to Transmedia: How to Develop, Fund, Produce and Distribute Compelling Stories Across Multiple Platforms (Paperback)
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constructs different single media consumers. Here a viewer can enter the narrative world by watching the TV series every week. Finally,
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Vernallis, Carol, Holly Rogers and Lisa Perrott (2020), Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics.
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You're gonna need a bigger story : the 21st century survival guide to not just writing stores, but building super stories
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created transmedia consumers because there are different media across different platforms that the consumer can enter into.
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1410:
Wilson, M. E. (2004). Teaching, learning, and millennial students. New directions for student services (106). Summer 2004.
1203:"Transmedia Narratives: Definition and Social Transformations in the Consumption of Media Content in the Globalized World"
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to attract younger audience members. Sometimes, audience members can feel as though some transmedia storylines have left
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304:
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Bernardo, Nuno (2014) Transmedia 2.0: How to Create an Entertainment Brand Using a Transmedial Approach to Storytelling
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Transmedia storytelling is also used by companies like Microsoft and Kimberly-Clark to train employees and managers.
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as part of the advance global marketing campaign, as vivid executional examples of transmedia storytelling theory.
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that integrates live action films, a web series, animation, and music to tell stories across a universe timeline.
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Pratten, Robert (2015) Getting Started in Transmedia Storytelling: A Practical Guide for Beginners 2nd Edition
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is a sci-fi novella series incorporating QR codes within the text to multimedia and a simulated reality story.
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was most likely started sometime around 1993, and also included most of the aforementioned design principles.
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a young adult book series adapted to wildly popular movies and fan fiction based on the character plot lines
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is the "science of signs" and a discipline concerned with sense production and interpretation processes.
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that states a Knowledge (XXG) editor's personal feelings or presents an original argument about a topic.
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Pont, S. "The Better Mousetrap: Brand Invention in a Media Democracy" (2013) Kogan Page 978-0749466213.
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series, but the games Pokémon Red and Green were the starting point from which the franchise derived.
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Palmer, Landon (2020). "All Together Now: The Beatles, United Artists, and Transmedia Production".
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the project was created by Emily Lazar in 2009 and spans upon comic books, music, NFTs, and more
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or story experience across multiple platforms and formats using current digital technologies.
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et al. (2014) "Interactive Narratives, New Media & Social Engagement" - Toronto, Canadá.
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been a few transmedia worlds that have begun to show up with education, mostly by Disney.
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by Ngozi Ukazu is an ongoing webcomic since 2013. The narrative is supplemented with a
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Transmedia storytelling can be related to the concepts of semiotics and narratology.
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Pont, S. "Digital State: How the Internet is Changing Everything" (2013) Kogan Page
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Pont, Simon (2012) "The Better Mousetrap: Brand Invention in a Media Democracy".
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and even suggest that they go back further to the roots of earliest literature.
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Pont, Simon (2013) "Digital State: How the Internet is Changing Everything".
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Getting Started in Transmedia Storytelling: A Practical Guide for Beginners
141:, originated in the early 1960s. Some, however, have traced the roots to
1359:"'Ball & Flint: transmedia explained in 90 seconds' (2013) Simon Pont"
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Legend-Tripping Online: Supernatural Folklore and the Search for Ong's Hat
171:
Legend-Tripping Online: Supernatural Folklore and the Search for Ong's Hat
17:
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1300:"SyFy's Defiance: A Gamble in Transmedia Storytelling (and Marketing)"
502:, a transmedia extension of the Channel 4/Company Pictures TV show by
396:, so they begin another extension of transmedia storytelling, such as
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Rock Star/Movie Star: Power and Performance in Cinematic Rock Stardom
549:
311:
183:
Dreadnot, an early example of an ARG-style project, was published on
71:. Statements consisting only of original research should be removed.
1459:"Transmedia dynamics in education: the case of Robot Heart Stories"
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don't create a story world by stripping away, but by layering".
564:, a martial arts-themed transmedia comic book series created by
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1006:
The New, Old Way to Tell Stories: With Input From the Audience
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The study of transmedia storytelling—a concept introduced by
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Anime's Media Mix: Franchising Toys and Characters in Japan.
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having to consume the rest of the texts. On a second level,
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One example that Jenkins gives is of the media conglomerate
27:
Telling a single story across multiple platforms and formats
787:
personal reflection, personal essay, or argumentative essay
734:(2012), and specifically the three viral films produced by
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Gambarato, Renira Rampazzo; Dabagian, Lilit (2016-10-01).
169:
into its design, as chronicled in a scholarly work titled
1278:"Wer das Game spielt und die Serie sieht, hat mehr davon"
1447:". Paper presented at the meeting of the MindTrek, 2012.
1321:"Defiance and the challenges of transmedia storytelling"
30:"Transmedia" redirects here. For a related process, see
1052:"Harry Potter and the power of transmedia storytelling"
793:
450:
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988:, Convergence Culture: Where Old and New Media Collide
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Transmedia in the classroom: breaking the fourth wall
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Learning Through Transmedia Storytelling (Infoline)
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1114:. Oxford: Oxford University Press. pp. 58–95.
1531:Gronstedt, Anders; Ramos, Marc (January 7, 2014).
154:Some early works include, but are not limited to:
1598:Phillips, Andrea. (2012) Transmedia Storytelling
650:, across music, film, radio, print and digital.
418:List of augmented reality software § Games
1558:"Role of Transmedia Storytelling in Education"
1384:"Great Examples of Multiplatform Storytelling"
8:
697:to show how transmedia storytelling occurs.
228:Fantastic Beasts: The Secrets of Dumbledore
222:Fantastic Beasts: The Crimes of Grindlewald
1443:Teske, Paul R. J. and Horstman, Theresa. "
1261:: CS1 maint: location missing publisher (
1580:100 notions for crossmedia and transmedia
940:, Palgrave Macmillan UK, pp. 72–77,
816:Learn how and when to remove this message
87:Learn how and when to remove this message
453:by adding descriptive text and removing
1582:, éditions de l'immatériel, p. 228
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216:Fantastic Beasts and Where to Find Them
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671:American television series (2001–2010)
646:creates the portrait of jazz musician
193:Franchise (1997–present) Best selling
1140:"Transmedia 202: Further Reflections"
1022:University Press of Mississippi, 2011
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490:, a native transmedia experience for
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1514:"Storytelling for the Netflix age"
1433:10.1108/S2044-9968(2013)000006F006
1050:Brindley, Charlotte (2019-11-25).
25:
1556:Jain, Saurabh (20 January 2018).
405:You’re Gonna Need a Bigger Story,
201:, officially developed immersive
1636:*Queiroz, Cecília; Cunha, Regina
1182:Jenkins, henry (21 March 2007).
1009:, The Atlantic, October 18, 2013
774:
630:and live paid actor campaign of
614:account of the main protagonist.
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1463:Educational Media International
379:, but rather focuses on larger
562:Creative Impulse Entertainment
165:also incorporated elements of
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1475:10.1080/09523987.2016.1254874
1184:"Transmedia Storytelling 101"
1158:"Transmedia Storytelling 101"
538:, a web series adaptation of
367:. This organization releases
348:, author of the seminal book
1276:Rittmann, Tim (April 2013).
880:(2nd ed.). London, UK:
693:Scolari uses the example of
643:The Man with the Jazz Guitar
1578:Azemard, Ghislaine (2013),
595:The HIVE Transmedia Project
516:live action television show
144:Pamela: Or, Virtue Rewarded
67:the claims made and adding
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108:multiplatform storytelling
29:
535:The Lizzie Bennet Diaries
1227:Howard, Houston (2017).
1144:Confessions of an AcaFan
1035:. SFGate. Archived from
1659:Transmedia storytelling
1593:Transmedia Storytelling
1591:McAdams, Mindy (2016).
1201:Kalinov, Kalin (2017).
946:10.1057/9781137434371_5
905:Bernardo, Nuno (2011).
831:collective intelligence
619:Endgame: Proving Ground
455:less pertinent examples
258:The Blair Witch Project
100:Transmedia storytelling
1210:Postmodernism Problems
1003:Prior, Karen Swallow,
938:Transmedia Archaeology
796:by rewriting it in an
301:– TV series, 2004-2010
110:) is the technique of
1077:Popular Music History
557:JFH: Justice For Hire
394:character development
209:, off-Broadway stage
392:in the plot line or
293:– feature film, 2009
269:– feature film, 2001
261:– feature film, 1999
253:– feature film, 1999
213:and spin-off films (
104:transmedia narrative
1018:Kinsella, Michael.
632:transreality gaming
541:Pride and Prejudice
451:improve the article
350:Convergence Culture
1138:(August 1, 2011).
1089:10.1558/pomh.19863
798:encyclopedic style
785:is written like a
685:September Mourning
638:beginning in 2014.
285:– video game, 2001
147:(1740) written by
52:possibly contains
1644:978-0-9939520-0-5
1240:978-0-692-84900-2
967:Steinberg, Marc,
922:978-0-9567500-0-6
891:978-1-5153-3916-8
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149:Samuel Richardson
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16:(Redirected from
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736:20th Century Fox
676:The Hunger Games
622:, a web, phone,
494:TV in Australia.
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354:media franchises
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358:media mixes
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195:book series
1653:Categories
1617:Kogan Page
1603:Kogan Page
1469:(4): 232.
1369:2014-01-24
1249:1122543816
1168:2019-06-16
1061:2020-09-27
1033:"Dreadnot"
860:References
806:March 2021
731:Prometheus
648:Ken Sykora
520:Paramount+
506:in the UK.
443:irrelevant
416:See also:
377:plot lines
373:characters
340:Definition
250:The Matrix
185:sfgate.com
61:improve it
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527:ReGenesis
439:excessive
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322:DC Comics
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243:Star Trek
236:Star Wars
203:fan sites
163:Ong's Hat
159:Ong's Hat
139:media mix
132:Semiotics
114:a single
65:verifying
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587:Defiance
478:Fortnite
445:examples
282:Majestic
792:Please
660:Pokemon
655:Pokémon
612:Twitter
573:MyMusic
546:Twitter
266:On Line
197:spawns
126:History
112:telling
59:Please
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