Transmedia Storyline and World Building - Literature review Example

Literature Review Transmedia Storyline and World Building Name: Lecturer: Course: Date: Literature Review Transmedia Storyline and World Building Introduction Transmedia storytelling, also referred as transmedia narrative, describes a technique of narrating a story experience across many platforms through the use of varied digital formats (Scolari 2009). According to Leigh (2012) transmedia narrative refers to texts whose content appear in a coordinated way across a range of varied current digital media formats such as television, film, music albums, graphic novels, mobile phone and webisodes. The definition relates to Jenkins’ (2006) perspective that current developments such as digitisation have helped encourage convergence of formats to form multi-platform narratives. A related perspective was proposed by Kim and Hong (2012) who defined transmedia storytelling as the process through which a mass content existing synchronically combine to form a larger content. This literature review explores the themes of “multiplatform storytelling and world building” and “multiplatform storytelling and narrative design” in an attempt to interpret the concept of transmedia. The key assumption of this literature review is that in designing expansion for transmedia, the extensions should be interpreted as individual differences rather than sources that present more information on the narrative. Based on the above reviews, it is clear that the definition of transmedia narrative, although hotly contested, is yet to arrive at a consistent definition. While some quarters depict it as a single story narrated across a range of media platforms, others see it as multiple stories based on a single story world narrated on multiple platforms (Kim and Hong 2012; Leigh 2012; Scolari 2009; Holme 2011). For the purpose of this literature review, the second perspective is taken to explain the theme of “multiplatform storytelling and world building.” Smith (2009) noted that since a good character can support multiple stories, a world can be pitched because a world can support many characters and many stories across a range of media. According to Smith (2009), part of the change towards world-building originated from economic incentives. Smith (2007) demonstrates that in the process of designing expansion, transmedia narrative producers or creators should come up with a spatial dimension of the world, while at the same time leaving narrative gaps that can facilitate discovery and exploration. At the same time, in designing expansion for transmedia, the extensions should be interpreted as individual differences rather than sources that present more information on the narrative. The transmedia producer should seek to ensure that the process of discovery remains fun and worthwhile. Scolari (2009) views transmedia stories at its most basic level as stories narrated across a range of multiple media. In the ideal form of transmedia stories, each media format is permitted to do what it does best. For instance, a story is introduced through a novel, expanded through films or video before it is finally explored through a video game (Lettieri et al., 2011). This implies that each media format has to be self-contained in a manner that enables autonomous consumption. Essentially therefore, transmedia storyline comprises a narrative structure expanded to a world of its own using a range of languages, whether iconic of verbal, and media, whether television, comics, cinema or video games (Flemming 2013). Alper and Herr-Stephenson (2013) depicted transmedia as a group of narrative and non-narrative media components systematically spread across a range of platforms. To this end, the narrative world consists of the setting, the plot and the characters. On the other end, non-narrative ones include the modes of participation or the design features. Alper and Herr-Stephenson (2013) noted that pedagogical approaches to multi-platform storytelling do not entirely focus on digital media as older platforms, such as analogue radio and printed books and magazines, can as well be leveraged to build a world for a narrative. The view is reflected in Oden’s (2013) suggestion that combing storytelling and transmedia creates transmedia storytelling. Scolari (2009) depicted transmedia stories as adaptation from one media format to the other (Fig 1). Stories told in comics are different from those told in film or television. Varied languages and media integrate and contribute to the creation of transmedia narrative. Figure 1: Transmedia formats In a survey of transmedia narratives for education purposes, Pence (2012) emphasises that two different poles of transmedia usage exist. These include close or experience transmedia, which consists if a range of media formats used in creating a unified others, and open or framework transmedia, which consists of a set of resources users can adapt to evolve new visions of the world. Griffith and Bower (2013) noted that transmedia narratives open up opportunities to create new worlds of learning, and which deepen enjoyment and engagement. From the two perspectives, emphasis is placed on portraying transmedia narratives as capable of creating a world of its own. Dena (2009) categorised transmedia narratives into two main types, namely intercompositional and intracompositional. While intercompositional refers to works that leverage multiple media to come up with a single story, intracompositional create interrelationships between various narratives through various media format. However, according to Stackelberg (2011), transmedia is comparatively broad and refers to any intercompositional or intracompositional works containing one of more narratives that have been set in one “storyworld” and narrated through two or more different media formats. Within this perspective, transmedia narratives comprise one storyworld, one or more stories and two or more divergent media format. This definition broadly interprets what makes up transmedia narrative in addition to its capability to create a world of its own. Dena (2009) shared a similar view in suggesting that transmedia narrative can bring order in a world with chaotic flow of events, hence enabling audience to understand what takes place. Hence, in a well-developed world, each striking detail is likely to create a new novel, toy or game. Kim and Hong (2012) suggested the Matrix brand as a popular transmedia story with a world of its own. The Matrix represents the media convergence as it integrates a range of texts in creating a narrative so greatly that it can be restrained within a single medium. The Matrix is a narration about a dystopian future, in which man’s perceived reality is in actual fact a simulation built by machines. Matrix has been extended into additional media elements. Smith (2007) posits that in theory, extending narratives into short animations, comics and video or online games, hardcore fans can satisfy crave for more information. All together, new audience base can discover the Matrix universe through a range of media formats. In Matrix, information is conveyed using various live action films, mainly a series of comic book stories, animated shorts and numerous video games. In this case, no single source exists that can be used to understand the Matrix universe. The Matrix franchise has cumulated billions of dollars of revenues from video games and other merchandise. Like Matrix, the world of cult television sustains a range of merchandising, by inviting the fan base to collect forms of their world. For instance, the TVshow Lost offers T-shirts, mugs and jump suits from the Dharma Initiative, which is a fictional institution of the TV show. Through this, the fan base can show their followers, while at the same time managing to feel they are part of the world of Lost (Smith 2007). However, Long (2007) argues that the change in emphasis from a character, to a plot to the world is in actual fact just another opportunity to ensure more branding through the merchandise. Smith (2009) also suggests another prime example as the “Lost” series, which has been hailed as among the most thrilling and innovative TV shows. The show has also been run into reality games, videogames, novels and mobisodes. According to Smith (2009), the transmedia content through which Lost was project managed to amplify the voice of Lost’s promoters and maintain the mystery of Lost afresh. Indeed, many television shows like Lost and Matrix present fantastic world as backdrop for narrative timeline as well as a various and graphic geographical domain suitable for new adventures and breakthroughs. Within these worlds the characters are given different heroic abilities. As stated by Long (2007), transmedia narratives narrate the story of a world. For instance, Lost cannot be easily summed up based on a single character or plot. Rather, they can be summarised in terms or the world. The narratives are branched off into a range of comics, video games, movies and novels, making them a story of a world. Long (2007) suggests that in the process of developing a narrative that is intended to extend across various forms, the world must be regarded as a the primary character of its own since many transmedia narratives to not tell the story of a single character. Rather, they are a story of a world. Smith (2007) notes that special focus should be given to developing a platform through which a range of storylines can unfold, and through which each story must uphold a level of consistency of that particular world. Based on this perspective it can be reviewed that stressing the backdrop or stage for a TV show does not compromise the importance of a character. Conclusion From the survey of literature, it can be concluded that in designing a world through transmedia, the extensions should be interpreted as individual differences rather than sources that present more information on the narrative. Transmedia narratives only perform better when centred around established characters, plots and settings. As a result, while characters do grow old, settings to wear out and plot lines do become overused, the world can always remain fresh. Hence, transmedia narratives should be constructed based on a timeline that needs to be followed as well as world that should be discovered. References Alper, M & Herr-Stephenson, R 2013, "Transmedia Play: Literacy across Media," Journal of Media Literacy Education, Vol. 5 No. 2, p.366-369 Dena, C 2009, Transmedia Practice: Theorizing the Practice of Expressing a Fictional World across Distinct Media and Environments, PhD dissertation, University of Sydney, Sydney Flemming, L 2013, "Expanding Learning Opportunities with Transmedia Practices: Inanimate Alice as an Exemplar," Journal of Media Literacy Education, Vol.5 No. 2, 370-377 Griffith, M & Bower, M 2013, Transmedia in English Literature Classes: A Literature Review and Project Proposal. In H. Carter, M. Gosper and J. Hedberg (Eds.), Electric Dreams. Proceedings ascilite 2013 Sydney Holme, P 2011, The Differences Between Multimedia, Crossmedia, and Transmedia, Somewhat Explained, viewed 24 March 2014, http://transmediadigest.blogspot.com/2011/11/what-is-transmedia-narrative-part-3.html Jenkins, H 2007, Transmedia storytelling 101, viewed 24 March 2014, http://www.henryjenkins.org/2007/03/transmedia_storytelling_101.html Kim, J & Hong, J 2012, "Analysis of Trans-media Storytelling Strategies," International Journal of Multimedia and Ubiquitous Engineering, Vol.8, No.3, p.1-12 Leigh, E 2012, "Transmedia Storytelling, Corporate Synergy, and Audience Expression," Global Media Journal, Vol. 12 Iss. 20, p.1-11 Lettieri, N, Fabiani, E, Faro, S & De Chiara, R 2011, Transmedial Patterns and Design of Legal Serious Games: a Case Study, eChallenge-2011 Conference Proceedings Paul Cunningham and Miriam Cunningham (ds) IIMC International Information Management Corporation Long, G 2007, Transmedia Storytelling: Business, Aesthetics, and Production at the Jim Henson Company, Massachusetts Institute of Technology Master’s Thesis, Cambridge Oden, N 2013, Mechanisms within cross media stories: An analytical framework combining cross media phenomena with storytelling elements, viewed 24 March 2014, http://www.diva-portal.org/smash/get/diva2:630592/FULLTEXT01.pdf Scolari, C 2009, "Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production," International Journal of Communication, Vol. 3, p.586-606 Smith, A 2009, Transmedia Storytelling in Television 2.0: Strategies for Developing Television Narratives Across Media Platforms, viewed 24 March 2014, http://sites.middlebury.edu/mediacp/files/2009/06/Aaron_Smith_2009.pdf Stackelberg, P 2011,What is a Transmedia Narrative? (Part 3 - Defining "Transmedia Narrative", Transmedia Digest, viewed 24 March 2014, http://transmediadigest.blogspot.com/2011/11/what-is-transmedia-narrative-part-3.html Read More

Smith (2007) demonstrates that in the process of designing expansion, transmedia narrative producers or creators should come up with a spatial dimension of the world, while at the same time leaving narrative gaps that can facilitate discovery and exploration. At the same time, in designing expansion for transmedia, the extensions should be interpreted as individual differences rather than sources that present more information on the narrative. The transmedia producer should seek to ensure that the process of discovery remains fun and worthwhile.

Scolari (2009) views transmedia stories at its most basic level as stories narrated across a range of multiple media. In the ideal form of transmedia stories, each media format is permitted to do what it does best. For instance, a story is introduced through a novel, expanded through films or video before it is finally explored through a video game (Lettieri et al., 2011). This implies that each media format has to be self-contained in a manner that enables autonomous consumption. Essentially therefore, transmedia storyline comprises a narrative structure expanded to a world of its own using a range of languages, whether iconic of verbal, and media, whether television, comics, cinema or video games (Flemming 2013).

Alper and Herr-Stephenson (2013) depicted transmedia as a group of narrative and non-narrative media components systematically spread across a range of platforms. To this end, the narrative world consists of the setting, the plot and the characters. On the other end, non-narrative ones include the modes of participation or the design features. Alper and Herr-Stephenson (2013) noted that pedagogical approaches to multi-platform storytelling do not entirely focus on digital media as older platforms, such as analogue radio and printed books and magazines, can as well be leveraged to build a world for a narrative.

The view is reflected in Oden’s (2013) suggestion that combing storytelling and transmedia creates transmedia storytelling. Scolari (2009) depicted transmedia stories as adaptation from one media format to the other (Fig 1). Stories told in comics are different from those told in film or television. Varied languages and media integrate and contribute to the creation of transmedia narrative. Figure 1: Transmedia formats In a survey of transmedia narratives for education purposes, Pence (2012) emphasises that two different poles of transmedia usage exist.

These include close or experience transmedia, which consists if a range of media formats used in creating a unified others, and open or framework transmedia, which consists of a set of resources users can adapt to evolve new visions of the world. Griffith and Bower (2013) noted that transmedia narratives open up opportunities to create new worlds of learning, and which deepen enjoyment and engagement. From the two perspectives, emphasis is placed on portraying transmedia narratives as capable of creating a world of its own.

Dena (2009) categorised transmedia narratives into two main types, namely intercompositional and intracompositional. While intercompositional refers to works that leverage multiple media to come up with a single story, intracompositional create interrelationships between various narratives through various media format. However, according to Stackelberg (2011), transmedia is comparatively broad and refers to any intercompositional or intracompositional works containing one of more narratives that have been set in one “storyworld” and narrated through two or more different media formats.

Within this perspective, transmedia narratives comprise one storyworld, one or more stories and two or more divergent media format. This definition broadly interprets what makes up transmedia narrative in addition to its capability to create a world of its own. Dena (2009) shared a similar view in suggesting that transmedia narrative can bring order in a world with chaotic flow of events, hence enabling audience to understand what takes place.

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