Transmedia

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Transmedia by Mind Map: Transmedia

1. 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.

2. Movies

2.1. Comicbook/superhero genre e.g. Marvel

2.2. Batman: The Dark Knight

2.3. The Matrix

2.4. Prometheus

2.5. A.I.

2.6. Star Wars

2.7. Pandemic (short film)

2.8. District 9

2.9. Romanzo Criminale

3. Critical perspectives

3.1. Conceptual and artistic: a chance to explore the interference and interactions between corporeal, virtual, spatial and temporal concepts. Materiality and media reimagined or repositioned.

3.2. 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.

4. 'Offline' products

4.1. Toys

4.1.1. Figurines

4.2. Clothes

4.3. Other branded merchandise

4.4. Sometimes necessary to buy for codes to unlock narrative

5. TV Series/ Shows

5.1. Lost

5.2. Doctor Who

5.3. Sherlock

5.4. Slide

5.5. Buffy the Vampire Slayer

5.6. Heroes

5.7. The Office

5.8. How I Met Your Mother

5.9. MTV's Valemont

5.10. Numb3rs

5.11. Game of Thrones

5.12. Blogs for characters: Monk, Psych, Covert Affairs

5.13. WWE (World Wrestling Entertainment)

6. Games

6.1. Serious Games

6.1.1. World Without Oil

6.1.2. Conspiracy for Good

6.1.3. Urgent Evoke

6.1.4. America 2049

6.2. Alternate Reality Gaming (ARG)

6.2.1. Perplex City

6.2.2. ilovebees

6.2.3. The Beast

6.2.4. Cathy's Book

6.2.5. lonelygirl15

6.2.6. Link to ARGNet

6.2.7. Year Zero ARG

6.3. Video games

6.3.1. Assassin's Creed

6.3.2. Tomb Raider: Underworld

6.3.3. Video games of comic books e.g. Batman

6.3.4. Halo 2

6.3.5. Dragon Age

7. e-Publishing

7.1. Experiments with format and form

7.2. Digital 'reading enhancements' - book apps for additional content/context. Video, interactive maps, narration

7.3. New Media writing e.g. hypertext novels, twitter stories

7.3.1. The Fallen Cycle

8. Internet

8.1. Videos: trailers, additional content

8.2. Social media

8.3. Fan fiction sites

8.4. Discussion forums

8.5. Online TV adaptations

8.6. Search engines

8.7. Websites/flash exhibitions, stories or artworks

9. Transmedia Marketing

9.1. Digital Marketing

9.1.1. Audi's Art of the Heist

9.1.2. Toyota's Your Other You

9.1.3. Ford Focus Rally

9.1.4. Mazda's 33 Keys

9.1.5. Levi's Jeans

9.1.6. Covet (perfume)

9.1.7. Stella Artois

9.1.8. Old Spice

9.1.9. Wrigley's Mission Icefly

9.2. Viral and guerilla marketing

9.3. Offline marketing

10. Comic books and graphic novels

10.1. Daredevil, Luke Cage, Iron Fist and Jessica Jones

10.2. Iron Man

10.3. Sin City

11. Art

11.1. Fan art

11.2. Interactive exhibitions

11.3. Avant-garde approaches

11.3.1. Sharon Daniel - Public Secrets

11.4. Museum/gallery mobile apps

11.5. Design/art/curation mix

12. Definitions

12.1. "A hybrid mix of complementary entertainment offerings that span several types of media" LaPlante, 1999.

12.2. "...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.

12.3. "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.

12.4. 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.

12.5. Producers Guild of America: "three stories told via three distinct media" - in Andrea Philips, 2012.

12.6. Marsha Kinder early mention...

13. Transfiction

13.1. Fictional narratives using transmedia

13.1.1. Cathy's Book

13.1.2. First Among Sequels

13.2. Multiple entry points

13.3. Recombinant fiction

13.4. Intertextuality

13.5. Twitter and SMS fiction

13.5.1. Cthalloween

13.5.2. The Tallking Dead

13.5.3. #SXStar Wars

13.5.4. The Chatsfield

14. Related terms

14.1. Pervasive media

14.2. Multimedia

14.3. Multiplatform content

14.4. Deep media

14.5. Immersive storytelling

14.6. Cross-media

14.7. Dispersed media

14.8. Interactive fiction

14.9. Post-structuralism

14.10. Intertextuality

14.11. Tentpole TV

14.12. Unstable media

15. Teaching transmedia

15.1. See Henry Jenkins' syllabus

15.2. As concept

15.3. As practise

15.4. As teaching method

15.4.1. Game based learning

15.4.1.1. Blended learning

15.4.1.1.1. Inanimate Alice

15.5. Awareness raising/activism

15.5.1. Paulo Cirio

15.5.1.1. Collapsus

15.5.1.1.1. See article by S Costaza Chock, IAMCR 2011 - Trasmedia mobilization/immigrant rights in LA

15.6. In psychotherapy

16. Notable theorists and practitioners

16.1. Henry Jenkins: Convergence Culture (2006); Spreadable Media (2013)

16.2. M.J. Clarke: Transmedia TV (2013)

16.3. Simon Pont

16.4. Paolo Cirio

16.5. Jane McGonigal: Reality is Broken. Why Games Make Us Better and How They Can Change the World.

16.6. Christy Dena: Transmedia Practice: A Collective Approach (2014)A Creator’s Guide to Transmedia Storytelling (2012) and Director of Universe Creation 101

16.7. Boris Debackere: reactive installations and live cinema

16.8. Carlos Scolari: Crossmedia Innovations (2012); Lostology

16.9. Robert Pratten: founder of Transmedia Storyteller - an online service for interactive, social and pervasive cross-platform entertainment and marketing.

16.10. Andrea Phillips: A creator's guide to transmedia storytelling (2012)

16.11. Elizabeth Evans: Transmedia TV (2011)

17. Music

17.1. Gorillaz

17.2. Nine Inch Nails

17.3. Joanna Lee (Swedish)

17.4. Thomas Dolby

17.5. Linkin Park

17.6. Jay-Z

17.7. http://www.amazon.co.uk/Crossing-Transmedia-Frontier-Growing-Festivals/dp/3659182389

18. Theatre and performing arts

18.1. Sleep No More

18.2. Accomplice

19. Cinema

19.1. Locative cinema ('geo location' based)

19.2. Expanded cinema

19.3. Live cinema

20. 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?

21. Transmedia revenue models

21.1. 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.

22. Locative narratives

22.1. Art

22.1.1. Jejune Institute

22.2. Mobile applications

22.2.1. Urban Sleuth

22.2.2. Eagle Eye: Free Fall

22.2.3. Zombies, Run!

23. Key terms/ 'Ingredients'

23.1. Storyworlds ('worldbuilding')

23.2. Characters (multi-layered, believable)

23.3. Boundaries between real world and fictional world

23.4. Audience/ users/ participants

23.5. Backstory & exposition

23.5.1. Using bonus material that didn't make final cut

23.6. Narrative/ conflict

23.7. Plot/ Tension

23.8. Setting/ mood

23.9. Theme

24. Print novels

25. Radio

25.1. On refait le match (Let's Relive the Match

25.2. The Flickerman