Evaluation of Television Based Storytelling Franchise - Case Study Example

Evaluation of Television Based Storytelling Franchise- Case Study Student’s Name: Institutional Affiliation: Instructor’s Name: Date: Transmedia Storytelling in the age of media convergence is becoming more prevalent. The practice involves the distribution of elements of the story across a number of media platforms with the aim of creating a captivating narrative. Many industries involved in fictional storytelling have utilized the power of transmedia and the culture of convergence to facilitate the flow of content. However, some people would view transmedia as a type of branding by itself. In essence, branding can be done with transmedia. In the world of fiction, even the most realistic stories occur completely different from our own. In storytelling, life gets stretched, compressed and shaped. The design and development of characters is done in a way that creates an impression of the actual reality in the real world. This paper will gives a critical evaluation of world-build and character designs in storytelling based on a case study of a TV- based storytelling franchise-Battlestar Galactica. Battlestar Galactica is a fictional television series of the US military science. In addition, the paper will give two transmedia extensions and the description of how the two extensions, the Dark World and Thor the God of Thunder, are integrated with the storytelling in the Battlestar Galactica. The academic as well as industry studies have shifted focus onto the television shows as their ideal avenues for launching their stores. The move is attributed to factors like the intense competition in the industry. Televisions platforms are becoming appropriate launch platforms due to the fact that majority of people across the world have access to it (Pratten, 2011). The creation of content and subsequent presentation of the same across multiple media platforms helps in reaching as many audiences as possible. Recent technological advancements especially in the media sector are a stepping stone for promotion of transmedia narratives. Basically, the focus on television shows is as a result of the need for high number of audience through maximization of available technological platforms (Davidson, 2010). Battlestar Galactica is a story told of fifty thousand human refugees who fled to escape destruction by the Cyclons in the 12 colonies of Kobol. A different but familiar Battlestar Galactica found herself as the leader of the refugees in quest for the Earth with danger and turmoil (Di Justo & Grazier, 2011). The style in which the drama unfolds makes the events reminiscent of feelings to the viewers. Some Cyclon models appear human therefore generating some disturbing challenges in differentiating friend from the enemy. This gives a reflection of the methods of how terrorists infiltrate and destruct massive populations (like suicide bombers). Although the design of the film was a derivative element of the original series, there are many alterations of elements in the new series. For instance, the commander- William Adama- is a one commander who is hardened to the battle. On the eve of his retirement he is portrayed as secular-minded. The design of characters in this film is such that the names of characters of the original series are currently his son’s call signs, Lee ‘Apollo’ as well as crack pilot Thrace ‘Starbuck’ Kara. The names of most characters are standardized and with the use of the first and last names. The fact that Starbuck changed into acting as a female character rose serious issues to the fans of the original series as they feared that the change would make the series inferior. In Battlestar Galactica, there is high significance of character alteration. For instance, Herb Jefferson who played Boomer is currently the female call-sign, Lieutenant Sharon Valerii. Apollo played by Richard Hatch is the call-sign of Lee Adama (Potter & Marshall, 2008). However, not all fans objected the alteration off the character design in the film. Surprisingly, some fans commended on the quality of the regular and miniseries. This assisted in the development and continuation of the series (Phillips, 2012). The objects in the film are more contemporary in function and their designs. Initially, the worldly designs consisted of the Egyptian-esque, pyramid cities and Egyptian clothing. The current series of the Battlestar Galactica portrays many aspects that exist in the contemporary world. When viewed from one side, world-building may be a limitation. On the other hand, it can be viewed as an incredible advantage. World-building can break or make a story. For this reason world-building is made possible. Battle Galactica is acted in a way that it does not portray fictional story but a reality of what is happening in the world. The characters are open to even the extraordinary possibilities. Battlestar universe is defined by the choices made by the world’s creators. Some of the choices are entirely aesthetic with little effect beyond the superficial. For example, the use of octagonal shapes creates a unique identification for the universe without a clear background of culture. The technological approach of the military as used in the Battlestar Galactica differentiates it from its peers in that television world of science fiction. While the world is practically founded on technology, it is infused in most cases with mysticism that creates a magical feel in the world. In normal cases, a mysterious technology would have adequate scientific explanations. The kind of technology in Battlestar Galactica world is basically based on magical illusions. Marvel’s video game Thor: God of Thunder and the Dark World, comic has been used as a launch platform. In this case, Earth 616 is the major universe for launching Marvel comics (Laramée, 2002). The platform has been credited for its supernatural cosmic and supernatural human beings (Wolf, 2008). Some audiences claim that Earth 616 is the principal reality where universally significant events occur. However, this comic platform is of little significance as per the cross-dimensional entities. The number “616” is designated to the reality so as to distinguish it from other alternate realities. The 616 reality is at all times in a flux state due to the fact that the multiple beings have varied experience of origins. Nonetheless, research on the use of comic as launch platform reveals that the platform is all-powerful. The character design in the play is set in a way that the players have the potential to command the massive and elemental powers of Thor in an original adventure. Regardless of the device in which the game is played, the experience of storming across the Nine World with the aim of saving Asgard is thrilling. The evidence and significance of world-building is portrayed by the existence of voices as well as the likeness of Hemsworth who is played as Thor and Hiddleston as Loki. For this reason, gamers will eventually be in a position of delving into the God of Thunder’s world and save the Asgard world from destruction (Avis et al., 2013). A few forms of storytelling can match serial TV for the vastness and the breadth of the narrative. For daytime serials, a narrative universe that is single can move on for many years and decades with cumulative backgrounds of characters and the plotlines. The aesthetic design of the Marvel’s God of Thunder ups the ante. With the power of the transmedia, the movie is presented in a worthy and perfect transfer that mirrors the Nine Realms in magnificent fashion (Lunge-Larsen, & Madsen, 2007). From the Asgard to the so-called Dark World, the vision of the director for Thor is numbingly and beautifully brought to life (Bagans, & Crigger, 2011). The character design presents a perfect reality of the softness of the elements in the Dark World to the gleam of Asgard and even the London’s grittiness. Adventure sets in when Thor goes back to the battle field with the primordial race’s leader, Malekith, who sought to destroy all the Nine Realms. The presentation of characters adds to the experience as well as the subtle disparities in colours. The audio is quite impressive as it offer a nice balance between the tender character moments and the thunderous actions between Jane and Thor or Loki and Thor. In conclusion, audiences are the centre of the digital story telling. The practice of using transmedia narrative within content and brand stories assist greatly in engaging the target audience. The rise in usage of more than one device by customers facilitates ease of transferability and execution of transmedia storytelling. The development of a consistent and continuous world-building and character design involves incorporation of three major elements into the body of the story. First the element of continuity should be adhered to by the writers of the story. In most cases, writers of the story consider world-building as a single or rather one step instead of viewing it as a continual process. Consequently, plot and the world building should be treated as the same entity. In other words, comic stories like the Dark World and the Thor: God of Thunder makes a good world-building because they portray new things in the actual world. This allows the audience to learn many things relating to the world continuously. Another element is that of a well pace. Though the world-building may be continuous, there could be evidence of a poor pace in new information and the revelations. The Battlestar Galactica’s producers did wonderful work with the narrative’s world-building. Lastly, consistency in the general flow of the story and character alignment should be observed to avoid staring of the audiences. (1515 Words) References Avis, G., & Coimbra, M. (2013). Thor: Viking god of thunder. http://www.contentreserve.com/TitleInfo.asp?ID={C6A33112-22A6-4C01-979C- 37DAC70E10C4}&Format=410. Bagans, Z., & Crigger, K. (2011). Dark world: into the shadows with the lead investigator of the Ghost Adventures crew. Las Vegas, Nev, Victory Belt. Battlestar Galactica- Epic Series: retrieved from, www.youtube.com/watch?v=q2x14ZhEc9k Davidson, D. (2010). Cross-media communications: an introduction to the art of creating integrated media experiences. [Pittsburgh, Pa.], ETC Press. Di Justo, P., & Grazier R. (2011). The science of Battlestar Galactica. Hoboken, N.J., Wiley. http://public.eblib.com/EBLPublic/PublicView.do?ptiID=624426. Laramée, D. (2002). Game design perspectives. Hingham, Mass, Charles River Media. Lunge-Larsen, L., & Madsen, J. (2007). The adventures of Thor the Thunder God. Boston, Houghton Mifflin. Phillips, A. (2012). Acreator's guide to transmedia storytelling: how to captivate and engage audiences across multiple platforms. New York, N.Y., [etc.], McGraw-Hill. Potter, T., & Marshall, W. (2008). Cylons in America: critical studies in Battlestar Galactica. New York, Continuum. Pratten, R. (2011). Getting started with transmedia storytelling. United States, Createspace?]. Thor: God of Thunder-Video Gamer: Retrieved from www.youtube.com/watch?v=qptrQ6TxzBQ Thor: The Dark World: retrieved from, www.youtube.com/watch?v=npvJ9FTgZbM Wolf, P. (2008). The video game explosion: a history from PONG to play station and beyond. Westport, Conn, Greenwood Press. Read More