Transmedia
by Kathleen Menzies
1. Movies
1.1. Comicbook/superhero genre e.g. Marvel
1.2. Batman: The Dark Knight
1.3. The Matrix
1.4. Prometheus
1.5. A.I.
1.6. Star Wars
1.7. Pandemic (short film)
1.8. District 9
1.9. Romanzo Criminale
2. 'Offline' products
2.1. Toys
2.1.1. Figurines
2.2. Clothes
2.3. Other branded merchandise
2.4. Sometimes necessary to buy for codes to unlock narrative
3. Games
3.1. Serious Games
3.1.1. World Without Oil
3.1.2. Conspiracy for Good
3.1.3. Urgent Evoke
3.1.4. America 2049
3.2. Alternate Reality Gaming (ARG)
3.2.1. Perplex City
3.2.2. ilovebees
3.2.3. The Beast
3.2.4. Cathy's Book
3.2.5. lonelygirl15
3.2.6. Link to ARGNet
3.2.7. Year Zero ARG
3.3. Video games
3.3.1. Assassin's Creed
3.3.2. Tomb Raider: Underworld
3.3.3. Video games of comic books e.g. Batman
3.3.4. Halo 2
3.3.5. Dragon Age
4. e-Publishing
4.1. Experiments with format and form
4.2. Digital 'reading enhancements' - book apps for additional content/context. Video, interactive maps, narration
4.3. New Media writing e.g. hypertext novels, twitter stories
4.3.1. The Fallen Cycle
5. Transmedia Marketing
5.1. Digital Marketing
5.1.1. Audi's Art of the Heist
5.1.2. Toyota's Your Other You
5.1.3. Ford Focus Rally
5.1.4. Mazda's 33 Keys
5.1.5. Levi's Jeans
5.1.6. Covet (perfume)
5.1.7. Stella Artois
5.1.8. Old Spice
5.1.9. Wrigley's Mission Icefly
5.2. Viral and guerilla marketing
5.3. Offline marketing
6. Comic books and graphic novels
6.1. Daredevil, Luke Cage, Iron Fist and Jessica Jones
6.2. Iron Man
6.3. Sin City
7. Definitions
7.1. "A hybrid mix of complementary entertainment offerings that span several types of media" LaPlante, 1999.
7.2. "...Integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes it own unique contribution to the unfolding of the story" - Henry Jenkins, 2003.
7.3. "The trans part of transmedia is that the designer transforms and transcends media categories, and by so doing, creates new media categories" - Nick Hafermas, 2013.
7.4. West Coast (Hollywood/ franchise transmedia consists of multiple big pieces: feature film, video game etc, grounded in big business commercial storytelling, e.g. Star Wars) vs. East Coast transmedia (more interactive, web-centric, based on traditions of indie film/theatre, & interactive art, reliant on social media, time-bound rather than persistent, need to seek out whole all pieces to experience whole story, e.g. Pandemic) - Andrea Phillips, 2012.
7.5. Producers Guild of America: "three stories told via three distinct media" - in Andrea Philips, 2012.
7.6. Marsha Kinder early mention...
8. Teaching transmedia
8.1. See Henry Jenkins' syllabus
8.2. As concept
8.3. As practise
8.4. As teaching method
8.4.1. Game based learning
8.4.1.1. Blended learning
8.4.1.1.1. Inanimate Alice
8.5. Awareness raising/activism
8.5.1. Paulo Cirio
8.5.1.1. Collapsus
8.5.1.1.1. See article by S Costaza Chock, IAMCR 2011 - Trasmedia mobilization/immigrant rights in LA
8.6. In psychotherapy
9. Music
9.1. Gorillaz
9.2. Nine Inch Nails
9.3. Joanna Lee (Swedish)
9.4. Thomas Dolby
9.5. Linkin Park
9.6. Jay-Z
9.7. http://www.amazon.co.uk/Crossing-Transmedia-Frontier-Growing-Festivals/dp/3659182389
10. Theatre and performing arts
10.1. Sleep No More
10.2. Accomplice
11. BIG QUESTION: Transmedia as a marketing tool or artistic expression in its own right (business case/ creative vision)? Probably bit of both? Where's the distinction?
12. Transmedia revenue models
12.1. ISSUES: majority of audience don't have enough time to delve into immersive transmedia narratives. Developers need to plan projects accordingly. Games may only be a minority interest. Best examples of transmedia not all featured in mainstream press.
13. Print novels
14. The performance of self online as a form of transmedia storytelling (e.g. photos on social networks, home videos, persona creation, positioning oneself in a narrative semi-imaginary fashion). Mediated identity. Real life as medium. Relates to ARG.
15. TV Series/ Shows
15.1. Lost
15.2. Doctor Who
15.3. Sherlock
15.4. Slide
15.5. Buffy the Vampire Slayer
15.6. Heroes
15.7. The Office
15.8. How I Met Your Mother
15.9. MTV's Valemont
15.10. Numb3rs
15.11. Game of Thrones
15.12. Blogs for characters: Monk, Psych, Covert Affairs
15.13. WWE (World Wrestling Entertainment)
16. Critical perspectives
16.1. Conceptual and artistic: a chance to explore the interference and interactions between corporeal, virtual, spatial and temporal concepts. Materiality and media reimagined or repositioned.
16.2. Socio-political: Further extension and embedding of capitalist/consumer culture, aimed primarily at children and youth. Transmedia as product diversification, branding, market expansion. Flipside: breaking reality through fiction. Transmedia as tactic.
17. Internet
17.1. Videos: trailers, additional content
17.2. Social media
17.3. Fan fiction sites
17.4. Discussion forums
17.5. Online TV adaptations
17.6. Search engines
17.7. Websites/flash exhibitions, stories or artworks
18. Art
18.1. Fan art
18.2. Interactive exhibitions
18.3. Avant-garde approaches
18.3.1. Sharon Daniel - Public Secrets
18.4. Museum/gallery mobile apps
18.5. Design/art/curation mix
19. Transfiction
19.1. Fictional narratives using transmedia
19.1.1. Cathy's Book
19.1.2. First Among Sequels
19.2. Multiple entry points
19.3. Recombinant fiction
19.4. Intertextuality
19.5. Twitter and SMS fiction
19.5.1. Cthalloween
19.5.2. The Tallking Dead
19.5.3. #SXStar Wars
19.5.4. The Chatsfield
20. Related terms
20.1. Pervasive media
20.2. Multimedia
20.3. Multiplatform content
20.4. Deep media
20.5. Immersive storytelling
20.6. Cross-media
20.7. Dispersed media
20.8. Interactive fiction
20.9. Post-structuralism
20.10. Intertextuality
20.11. Tentpole TV
20.12. Unstable media
21. Notable theorists and practitioners
21.1. Henry Jenkins: Convergence Culture (2006); Spreadable Media (2013)
21.2. M.J. Clarke: Transmedia TV (2013)
21.3. Simon Pont
21.4. Paolo Cirio
21.5. Jane McGonigal: Reality is Broken. Why Games Make Us Better and How They Can Change the World.
21.6. Christy Dena: Transmedia Practice: A Collective Approach (2014)A Creator’s Guide to Transmedia Storytelling (2012) and Director of Universe Creation 101
21.7. Boris Debackere: reactive installations and live cinema
21.8. Carlos Scolari: Crossmedia Innovations (2012); Lostology
21.9. Robert Pratten: founder of Transmedia Storyteller - an online service for interactive, social and pervasive cross-platform entertainment and marketing.
21.10. Andrea Phillips: A creator's guide to transmedia storytelling (2012)
21.11. Elizabeth Evans: Transmedia TV (2011)
22. Cinema
22.1. Locative cinema ('geo location' based)
22.2. Expanded cinema
22.3. Live cinema
23. Locative narratives
23.1. Art
23.1.1. Jejune Institute
23.2. Mobile applications
23.2.1. Urban Sleuth
23.2.2. Eagle Eye: Free Fall
23.2.3. Zombies, Run!
24. Key terms/ 'Ingredients'
24.1. Storyworlds ('worldbuilding')
24.2. Characters (multi-layered, believable)
24.3. Boundaries between real world and fictional world
24.4. Audience/ users/ participants
24.5. Backstory & exposition
24.5.1. Using bonus material that didn't make final cut