Task 1 – Halo

Michael Kneebone
Hayden Somerville
Zac Fuller

Pp1.14.Assignment task 1. Literature review. Michael Kneebone s3327832

Transmedia Television New Trends in Network Serial Production
M.J. Clarke2012
Section 3: TentpoleTV The video game
Pages 89 -97

Clarke investigates big media’s ‘inability to a gain a financial foothold’ (Clarke, P.90) in the licensed gaming sector. The first point he raises is that most the narratives of big media games don’t link to the original narrative from the film. Highlighting the importance of a strong transmedia narrative Clarke includes Jenkins comments about the successful matrix transmedia franchise. Clarke observes that the subtle links between game and film are imperative. He contrasts the matrix with the unsuccessful Lost: Via Domus, which lacks any link between the two media platforms. Clarke examines the financial benefits and shortfalls of:

Licensed game: Its costs money to obtain a license so they are usually franchises that have a consistently high standard of graphics and narrative eg Halo (microsoft)

Unlicensed game: Vary in quality and graphics and usually considered to be a lower quality game

Referencing the emerging financial interest in video games “gaming budgets regularly approach $100 million” (Clarke, p.95) Clarke tries to forecast the future of the gaming industry by displaying its huge monetary potential.

Clarke summarizes that choosing between a licensed and unlicensed game is a gamble between raising costs and lower risks. The overarching idea is that attaching a licensed game to a linked up successful narrative will result in financial gain.

Hayden Somerville Entertainment Architecture
Constructing a Framework for the Creation of an Emerging Transmedia Form.
By Adalbert (Woitek) Kozal

Chapter 2: From Storytelling to Entertainment
2.3 Internet and Storytelling
pg.51-69

Text Summary

Kozal recognizes the confusion around an excess amount of buzzwords and technical terms, all of which refer to similar aspects of transmedia. To combat this the writer chooses three distinctly different definitions, he then later expands on Internet-Native Transmedia.

1.Transmedia Entertainment: refers to all entertainment that is not limited to one medium.

2.Internet-Native Entertainment: all entertainment that would not have been possible before the existence of the internet.

3.Internet-Native Transmedia entertainment: the intersection of transmedia entertainment and internet-native entertainment. The Matrix is an example used.

‘Internet Transmedia Entertainment’ is recognized by Kozal as an umbrella term, which includes aspects of the following:

-Transmedia Storytelling
-‘Mass Audience’ & ‘Fan culture.’
-Combines story and audience interaction
-Screen Bleed, where content bleeds seamlessly from media into real life.
-Does not discriminate between fiction and non-fiction
-Is ubiquitous, forget boundaries

The key insight from Kozal in this article is that online transmedia projects, or as Kozal calls them: ‘Internet Transmedia Entertainment’, must not focus primarily on narrative or a complex multi-story structure. The priority with any project is to entertain, to provide a unique and interesting experience for an audience and to include as many of the aspects listed above.

Zac Fuller s3252819
SCOLARI, Carlos Alberto. Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production. International Journal of Communication, [S.l.], v. 3, p. 21, jun. 2009. ISSN 1932-8036. Available at: <http://ijoc.org/index.php/ijoc/article/view/477/336&gt;. Date accessed: 20 Mar. 2014.

In this article, Scolari attempts to critically reflect on Transmedia Storytelling and define terms within Transmedia Storytelling through the lens of semiotics and narratology. He achieves this by first differentiating Transmedia and Transmedia Storytelling from a host of terms from similar studies. For example, “Cross media, Hybrid media and Inter-textual commodities”. Once defined, Scolari places Transmedia Storytelling within the context of semiotics and narratology by pointing to the fact the many of the concepts in Transmedia come directly from the semiotic discursive territory, specifically the semiotic discussion around “intertextuality”. It is Scolari’s contention that texts are not necessarily linguistic (or visual) but narratively structured. In short, narrative is the basic structure-creating device for meaning production. In the second part of the article, Scolari studies the narrative structure of multipath texts with close regard to the T.V series 24. For an example of a multipath text, Scolari discusses the simple newspaper comic strip, and how it allows different levels of engagement depending on how regularly readers engage with the strip. Finally, in conclusion Scolari argues that the need for research in regard to Transmedia Storytelling needs to focus on the audience, or what he calls the consumer. He argues that it is impossible to tell if Transmedia consumption is a passing fad, if it only appeals to a hardcore faction of an audience, or the future of story telling.

SYNTHESIS..

Strong world / Strong narrative

It is important for any Transmedia project to have a strong story world and strong narrative regardless of the size. A strong story world will create enough depth and interest to create hardcore fans.

 

“No Homework required”

It is important for users to be able to understand any component of the of the Transmedia project without having to engage with the entire back catalogue of the Transmedia franchise.

 

Strong links

It is extremely important to have strong links between the different platforms to encourage users to migrate from one part of the Transmedia project to another

Appropriate content on appropriate platforms.

Let the different platforms do what they do best! A first person shooter game wouldn’t really work as a novel and a political thriller wouldn’t really work as a video game.

Rewarding without Punishing

Creating enough depth with the project so hardcore fans can exist while still allowing different levels of engagement from light users. It is important to reward those who engage with the entire franchise without punishing those who don’t

 

References

Clarke, M.J 2012, Transmedia Television : New Trends in Network Serial Production, e-book, pg (89-97) accessed 28 March 2014, <http://RMIT.eblib.com.au/patron/FullRecord.aspx?p=1099529&gt;.

Jenkins, H 2008, ‘Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling’, in Convergence culture : where old and new media collide, Updated edn, New York University Press, New York, pp. 93-130. (Accessed 24th march)

Phillips, Andrea (2012) “What is Transmedia Anyway?” A creator’s guide to transmedia storytelling : how to captivate and engage audiences across multiple platforms. New York : McGraw-Hill (p. 13-19) (Accessed 24th March)

Beddows, Emma (2014). PP1 Understanding Engagement. [Online
Video].Available from:http://www.youtube.com/watch?feature=player_embedded&v=94UHgFFAyKg. [Accessed: 24 March 2014].

Beddows, Emma (2014). PP1 Channelling Migration. [Online Video]. 00.
Available from:http://www.youtube.com/watch?feature=player_embedded&v=L7fwtbSnIU8. [Accessed: 24 March 2014].

Phillips, Andrea (2012) “Writing for Transmedia is different” A creator’s guide to transmedia storytelling : how to captivate and engage audiences across multiple platforms. New York : McGraw-Hill

McKee, Robert (1999). “Chapter 7: The Substance of Story” Story: substance, structure, style and the principles of screenwriting. Methuen: London (p.135-154)

Aronson, Linda (2000) “Chapter 6: Development Strategies for a Traditional Three-Act Film.” Scriptwriting Updated; new and conventional ways for writing for the screen. Allen and Unwin: Sydney (p.51-104) (this has not been digitised)

Dena, C, 2012. Meanland – Some Things I’ve Learned from Worldbuilding. -, [Online]. Available at:http://meanjin.com.au/blog/post/meanland-some-things-ive-learned-from-transmedia-worldbuilding/%5BAccessed 24 March 2014].

Jenkins, H, 2006. Searching for the Origami Unicorn. Convergence Culture: Where Old and New Media Collide., [Online]. Available at: http://mafaldastasi.files.wordpress.com/2011/11/jenkins-2006-unicorn.pdf [Accessed 24 March 2014].

Hayes, G, 2011. How to write a Transmedia Production Bible: a template for multi-platform producers.Screen Australia, [Online] Available at: http://storify.com/KylaBrettle/pp1-14-2-producing-transmedia-is-different [Accessed 25 March 2014].

GDC Vault. 2013. Building Transmedia Worlds In Halo. [ONLINE] Available at:http://www.gdcvault.com/play/1016603/Building-Transmedia-Worlds-in-Halo. [Accessed 26 March 14].

SCOLARI, Carlos Alberto. Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production. International Journal of Communication, [S.l.], v. 3, p. 21, jun. 2009. ISSN 1932-8036. Available at: <http://ijoc.org/index.php/ijoc/article/view/477/336&gt;. Date accessed: 28 Mar. 2014.

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