PP1.14 is over and this blog has been archived

Watch the quick and dirty video about PP1.14 recorded in the last week of class:

PP1.14 | A course on transmedia storytelling. from Kyla Brettle on Vimeo.

Check out all student production Projects HERE and cruise through all research reports HERE


Task 1: Anchorman 2

Christine Butcher (3330185)


Anchorman 2


Dowd, Tom. Michael Fry, Michael Niederman, Josef Steiff (2013). Storytelling Across Worlds: Transmedia for Creatives and Producers. New York: Focal Press (p.3-32)


In Dowd’s article “…..” he describes transmedia as a product and process of storytelling; building on the end product, or original product of a story to create a transmedia narrative which transcends the original storytelling medium itself in order to provide audiences with an opportunity to further their engagement with the story and/or elements of the story, interactively participate in the world of the story and subsequently capture their imagination. In turn, if executed successfully, this can generate much more exposure and possibly revenue for the product.


Success rides on certain aspects of the narrative and the way it is developed into a transmedia experience. Dowd believes that transmedia is most conducive to stories with a complex universe, rich back story or mythology as these stories have diverse characters and universes to be explored. The more platforms with which this exploration is undertaken, the better, according to Dowd and such exploration should be serving more to the audience than just adapting the same story to different media, ‘each expression has to tell a complete piece of a larger story.’ Dowd notes the Internet as the most powerful tool with which to do so, allowing producers to distribute content, communicate with audiences, create viral marketing and much more.





  • Branding- utilize a highly regarded pre-existing characters as mascots to benefit both parties
  • Bombard your audience with a plethora of exclusive new content
  • You can inject your product/production directly into a specific market via customised content
  •  Use existing resources to create brand new pieces of content and extend the life of the story
  • Extra content is just as valuable as primary product
  • Viral content is most successful when kept short and sweet
  • Guerilla publicity stunts keep it fresh and interesting
  • Segment content by target audience
  • Consumer created content is a powerful tool, promoted in form of competition or similar, they can evangelise on your behalf

Task 1: Halo 4

Daniel Yee (s338226)
Syafiq Roslan (s3414624)
Jeeva Reuben Kunaselam (s3414732)

Syafiq’s summary and synthesis:


The recent shift of many in the media industry towards transmedia content brings forth the idea of a tug of war relationship between the participatory culture of new media practices versus the reality of corporate synergy in transmedia storytelling. While he agrees on Jenkins’(2006) argument on the evident possibilities for the co-creation of content between producer and audience, he also suggests that corporate branding remains an integral part of transmedia storytelling. He adds that by branching out through transmedia storytelling, media conglomerates are able to not only amplify their corporate branding practices, but also shut out non-branded content(ie independent work) by oversaturating the various markets involved(tv, games, movies, social media etc). In the article, Edwards also talks about the concept of “collective intelligence” introduced by Pierre Lévy, in which the knowledge pool of the internet is essentially built from a collective of different individuals contributing different expertise and individually specific knowledge. He also talks about the idea of mass customization, in his words, a “self-performed consumer research” technique, which serves to offer companies voluntary demographics and target audiences, based on advertisements and online preferences which at first glance may appear to be tailor-suited to each individual user.


  •       Participatory culture versus corporate synergy in transmedia storytelling
  •       Are new media techniques benefitting the end user or maximizing profit gain of media conglomerates/corporate branding?
  •       Collective intelligence and content creation in transmedia storytelling
  •       Mass customization as both a means for audience participation and market research


Edwards, L.H 2012, ‘Transmedia Storytelling, Corporate Synergy, and Audience Expression’,Global Media Journal, vol. 12, no. 20, viewed 23 March 2014.


Reuben’s summary and synthesis:


Transmedia is a form or an approach to, storytelling, that possesses a variety of potential curricular applications that applies to literacy and the content areas. It is a flexible technique that allows pop culture creators to tell interconnected stories across multiple media platforms. According to Henry Jenkins, many contemporary works are characterised by expanding their narrative through different media (film, TV, comics, books, etc.) and platforms (blogs, forums, wikis, social networks, etc.). Andy Plemmons, a progressive media specialist conducted a lesson for fifth graders about the September 11 event. Plemmons knew that his students, whom weren’t even born at the time of the event wouldn’t be able to know the impact of the 9/11 by just using a single medium. Plemmons read aloud nonfictions picture books, had them watch video clips about the John J. Harvey fireboat. He also made them use computers to follow guides to locate online resources that include photo galleries, newscasts, personal accounts and timelines. He stated that his students contributed their own drawings and writings to create a complete story about the event and that they had no idea that they were engaging in transmedia, a way of telling a story or an experience across various platforms. Transmedia is the result of transliteracy, which is a concept that can be applied to the more old-fashioned book vs. movie approach, where several media are established as oppositional, not complimentary. Transmedia isn’t about taking advantage of new platforms for the sake of generating revenue. It is instead, a technique that allows participation in a narrative in powerful and original ways.


  •       A technique of telling stories and creating content across multiple media and platforms.
  •       Comparing and contrasting modes of storytelling between different story forms helps understand character, plot, action, scene and theme.
  •       It is not so important who produces a text but rather how the texts are connected and integrated into a complex narrative system.
  •       Can be used to improve an existing story by producing fan fiction.


Gutierrez, P 2012, ‘Every platform tells a story: transmedia has the power to make any topic more vivid and personal’, School Library Journal, vol. 58, no. 6, pp. 32, viewed 23 March 2014


Daniel’s summary and synthesis


The following is a summery of a speech presented by transmedia experts Armando Troisi and Kevin Grace at the 2012 GDC Game Narrative Summit.

Transmedia storytelling represents an exciting opportunity to “tell stories across multiple platforms” creating “new storytelling opportunities”. The goal here is to not only create a greater experience for consumers but to keep fans engaged for a longer time by creating more access points between the Transmedia and artefacts and the fans. It is important for them to make sure every narrative is important and canonical.

Unlike many other Transmedia artefacts, the 343 team created their Transmedia narrative with a distinct hierarchy in mind. Although “everything is connected” across platforms, the priority is that everything “feeds into and supports” Halo 4, the game. While there are links between platforms, nothing is more important than the links between the various platforms and the game itself.

There exists significant challenges indeed when creating Transmedia. Co-ordinating content in a logistical viewpoint is difficult and requires constant communication. Focusing efforts on a cohesive world is another challenge when working with a large team.

In order to handle the goals and challenges 343 is presented with, they had to create a set of principals to guide them. The first of these is to enable your partners. “Don’t dictate your partners, guide them”. The result will likely end with a better product. “No reading required” is the second of these principals pertaining to the level of access of each individual Transmedia platform. While 343 certainly wishes to engage and reward the hardcore fans that engage across all platforms, they understand that not everybody will invest themselves in such a way. Therefore, their goal is to create a Transmedia story that doesn’t punish an individual who may not be familiar with every platform across the media artefact.


What is Transmedia to us (343 industries)?

–       Telling stories across multiple mediums

–       Meaningful, canonical stories

–       Interconnected narratives

–       Audience engagement


Examples of Halo 4 Transmedia narratives:

–       Forward onto dawn (live action film series)

–       Comic book series

–       Novels

–       Web content – online mini series

–       Motion graphic comics

–       Video game

“We have to make sure all these are connected, nothing lives in a bubble”. Rewards people that participate in all platforms without punishing those who don’t.

However, the centre of the strategy is Halo 4 (the video game). Every platform must draw a connection to the game. There is a hierarchy that exists between these platforms


What’s the goal here?

–       Create new storytelling opportunities

–       Creating a layered experience with interconnected stories makes for a better consumer experience

–       Keeps fans engaged, providing constant material to engage in


What are the challenges?

–       Coordinating content, working through many different time lines. Logistical management.

–       Focus our efforts

–       Curating the fiction. Making sure that all these stories are meaningful not just for the sake of connecting to a wider audience.



–       Enable your partners

o   Don’t hire vendors; create partnerships.

o   Don’t dictate content; guide it.

–       No reading required

o   Peoples understanding of the media artefact may differ depending on how/what they engage with. Build your platform with this in mind.

o   Reward the hard-core fan that engages with every platform

o   Don’t punish the casual fan

–       Room to grow (let each medium to what it does best, allow it to flourish. Sometimes that may require reassessment)

o   Understand your media

o   Understand your audiences

o   Don’t limit your narrative possibilities if you don’t have to. E.g. don’t define something so concretely if you don’t have to.

o   Don’t enforce canon but manage it

–       Tell the right story in the right channel


Sequential model

–       Each media artefact links to the next one in a linear fashion. Engagement with an artefact requires knowledge of the previous artefact

Supplementary model

–       Each artefact stands separate but adds support to each other



Grace, K and Troisi, A. “Building Transmedia Worlds in Halo 4”, Speech in GDC Vault Game Narrative Summit 2012, Accessed 8/3/2014 <http://www.gdcvault.com/play/1016603/Building-Transmedia-Worlds-in-Halo&gt&gt;

Task 1: Scooby-Doo

Benita Lin (3421674)
Julia Tran (3382159)


Character, audience agency and transmedia drama – summary by Benita Lin

Evans, EJ 2008, ‘Character, audience agency and transmedia drama’, Media, Culture & Society, vol. 30, no. 2, pp. 197-213.

The internet has become so widespread and important, and has affected the way that transmedia works. Evans describes transmedia as the way that “new technologies have been used to extend dramas onto multiple media outlets…[taking] into account the shifting patterns of movement” (197). Evans uses the example of Spooks, a 2002 BBC series to illustrate this point.Spooks was a test programme for BBC “in terms of interactive and digital technology” (198) as games were created for the programme’s website. Evans states that the purpose of her research was to “explore the attitudes and behaviours of those who actively partake in transmedia drama” (198). Her research method included questionnaires, email diaries, and a series of focus groups. Evans talks about the types of interactivity present in the Spooks series and games and how they engage with the audience, finally concluding that characters are “a central, if not the central, point of engagement for the audience of a television fiction” (203). Again, she links this back to the Spooks series and games through the focus groups. From the results of the focus group discussions, Evans realises that “in order to create valued transmedia texts from a television drama…characters must remain key” (211).

Franchising/Adaptation – summary by Julia Tran

Parody, C 2011, ‘Franchising/Adaptation’, Adaptation, vol. 4, no.2, pp. 210-218.

In this essay, Parody discusses the media landscape as a convergence culture, which is the spread of content across multiple media platforms and the cooperation between multiple media industries. She claims that adaptations are part of a “particular market strategy” (212) that relates to franchise storytelling, when “the creation of narratives, characters, and settings…generate and give identity to vast quantities of interlinked media products and merchandise, resulting in a prolonged, multitextual, multimedia fictional experience” (211). Furthermore, Parody points out that cross-platform production is vital in the entertainment branding in convergence culture since “franchise entertainment relies on cohering principles other that narrative continuity” (215). This, then, revives and provides depth to creation rather than spoiling it (215-216). In addition, Parody makes note of the “complex interactions between media” and explains how adaptation is itself intermedial. By “intermediality” she refers to amalgamation between media, as “distinct from the additive mixtures of trans- or multimedia texts” (213). That is, when fictional texts or objects are placed in different platforms, they depend on different media conventions, which are then synthesized within their design. Lastly, Parody details how transmedia practice puts into question the definition of an adaptation—is it merely an “extension” of a text when it can “kick-start a transmedia franchise” (211)?


  • The characters of a television fiction are often the unifying agent in a transmedia project. For example, Scooby and the gang are the recurring characters in every media platform (eg. the animated series, movies, comic adaptations, videogames, etc.). The narratives for each platform or series may be different, but the five key characters are what the audience identifies with the Scooby-Doo series. The same concept can be applied to many transmedia series.
  • The growth of the Internet has altered the way that transmedia works. Online content plays quite a significant role in most transmedia projects as it has a higher level of interactivity compared to television or radio. This is because audiences have the ability to transform and rework the narratives and characters within their own domain, creating user-generated content.
  • Now audiences can contribute to the transmedia process. In the case of Scooby-Doo, fans created a Scooby-Doo Wikipedia page and have updated it with information and trivia in regards to the multiple series. Furthermore, when fans speculated Velma to be a lesbian, the screenwriter responded to this rumour in the Scooby-Doo theatrical releases by portraying Velma as a lesbian. She and Daphne were to share a kiss in the first film, but the official release cut this out.
  • Transmedia is not restricted to narrative continuity, but can simply adhere to similar principles across its multiple platforms. In addition, transmedia texts do not have to follow a strict story bible or sit within a timeline—the “rules” of transmedia can be broken when understanding the notion in terms of franchise and marketing. Scooby-Doo is an example of a transmedia text that relies on its colour and tone to remain apparent across its media platforms.
  • Another way of understanding transmedia is through social media, when the same user moves across multiple social platforms yet maintains the same personality. Perhaps the essence of transmedia is itself the practice of social media, for one text is working in different ways across multiple media platforms.


  • Evans, EJ 2008, ‘Character, audience agency and transmedia drama’, Media, Culture & Society, vol. 30, no. 2, pp. 197-213.
  • Parody, C 2011, ‘Franchising/Adaptation’, Adaptation, vol. 4, no.2, pp. 210-218.
  • Jenkins, H 2010, ‘Transmedia Storytelling and Entertainment: An annotated syllabus’, Continuum: Journal of Media & Cultural Studies, vol. 24, no. 6, pp. 943-958.
  • Nicolas, P 2013, ‘What am I looking at, Mulder?’, Science Fiction Film and Television, vol. 6, no. 1, pp. 101-117.
  • Jansson, A 2013, ‘Mediatization and Social Space: Reconstructing Mediatization for the Transmedia Age’, Communication Theory, vol. 23, pp. 279-296.
  • McKee, Robert (1999). “Chapter 6: Structure and Meaning” Story: substance, structure, style and the principles of screenwriting. Methuen: London (p.110-131).
  • Scolari, CA 2013, ‘Lostology: Transmedia storytelling and expansion/compression strategies’, Semiotica: Journal of the International Association for Semiotic Studies, is. 195, pp. 45-68.

Task 1: Firefly

Brendan Peterson (s3386052)
Tiffany Wong (s3383017)

http://vimeo.com/90078261″>fireflyslides from http://vimeo.com/user16979846″>Brendan James on https://vimeo.com”>


http://vimeo.com/90078261“>fireflyslides from

Inviting Audiences In by Derek Johnson – literature review

In the article Inviting Audiences In, Derek Johnson describes and debates the various relationships that fans have to a television show and its respective creators, along with the numerous ways those shows are now creating and spreading out content across multiple media platforms (known as ‘multiplatforming’) in order to further fan engagement with the show. Johnson sees fans as serving “a productive, industrial function”; with the “intersection of television and new media via multiplatforming”, the television industry was able to “begin participating in this new economy of free labor”. Such multiplatforming allowed for the reorganization of “the spatial relationships between audiences, textual worlds and industry”, and invites “the audience to symbolically enter the spaces of hyperdiegesis and cultural production”.

And although multiplatforming “emerged to attract and manage intense audience interest in specific television properties”, it also brings up the “possibility of audience power in the textual and productive realms; therefore, the industry now also has to contend with the issue of “antagonistic audiences”, and manage “conflicts of interest between production and consumption” to “ensure they remain utile to corporate interest”; Johnson describes such fans as “unruly house guests” who won’t hesitate to voice their displeasure at the network and the show’s producers, and “(let) the industry know when they dislike the décor and (demand) the industry’s hospitality”. He recognises that although such fans are “invested in content they help to sustain”, the management of this balance of power is of “paramount importance”; they are “invited in, but pressured to play by house rules” and are “markedly reminded that they do not set production agendas”.


Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production by Carlos Scolari – literature review

In Carlos Scolari’s article ‘Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production‘, Scolari emphasizes the importance of semiotics in relation to the analysis of transmedia. He also explores how different mediums shape the narratives they are expressing, and finally discusses the topic of branding in transmedia series.
Scolari argues that transmedia is an extension of multimodality. Just as the combination of sound and vision have different semiotic responses from audiences, different mediums have similar variance. Considering the unique natures of each medium is a vital part of studying transmedia works as a whole.
Scolari’s semiotic focus reveals possibilities for broadening the audience of a transmedic work through multilayered narratives which are accessible on different levels to different readers based on individual cognitive and semiotic experiences. In this way, a piece of transmedia can appeal to more experienced fans while still functioning as an entry level text for new readers.
Scolarli also states that in transmedia, a brand is developed. However uniquely the fiction that makes up the series, (ie. characters, themes, aesthetics) are also what makes up the brand. In this way the line between fan content and official content is blurred and any work that incorporates the attributes of the series can add depth to the narrative and universe.


  • Incorporating real world artifacts (i.e. “fictional non-fiction”, e.g. companion books that refuse to “exist outside hyperdiegetic space” [Johnson, 2007, pg. 72]) along with digital components into a multiplatformed text blurs the lines between virtual space and everyday life, furthering audience engagement with it.
  • Transmedia artifacts should not just serve a purely promotional/marketing/merchandising purpose for the main text, but rather complement and enhance it by seamlessly integrating storytelling in those other media platforms with the diegetic universe of the text. Audiences are often able to see through a marketing gimmick and a genuine expansion of the world of the text through other media platforms.
  • Depending on your audience and how invested they are in the text, giving them real-world scavenger hunt-style clues, riddles and puzzles to solve may or may not work. Not everyone can be bothered/will be interested in scanning QR codes randomly pasted on walls in order to solve mysteries/unlock prizes.
  • Transmedia texts should really have an ‘anchor’, or primary, form, whether that be film, television, an online webseries, etc. A heavily-integrated transmedia product that is simultaneously launched on multiple media platforms may confuse potential new audiences as to its aims (i.e. “It’s not just a TV show? I have to go online to find out what happens next, then play the video game to solve the mystery? I can’t be bothered, I give up.”) and drive them away. Once the success of the ‘anchor’ form has been realised, can the text then expand beyond it.
  • Each medium brings with it a specific set of semiotic allowances and restrictions. Therefore, a semiotic approach can be very valuable when analysing transmedia as well as selecting a medium to make use of.
  • Transmedia can be an effective tool for promoting multiliteracy by motivating and rewarding users for exploring other mediums. However choosing mediums that are too far out of the audience’s comfort zones can alienate and anger the fanbase. Appropriate media should be selected with the existing fans considered.
  • Ideally, transmedia can create multiple points of entry into series by spreading itself across multiple mediums. This is heavily dependent on each piece of work functioning as an effective starting point for a consumer. I.e. a comic must not require prior knowledge from watching the television series.
  • A transmedic work can appeal to multiple implicit consumers by containing ‘sedimentary multilayers’. Some levels are accessible by any reader while other levels require extra knowledge for comprehension. New readers can appreciate the surface story. Prior fans can appreciate the ‘hidden details’ that only they can detect. Telling a story from multiple perspectives is one technique applicable to transmedia storytelling. The story is engaging on the surface level, while also providing a new perspective for existing fans. The medium itself is also capable of providing unique types of content which work together to provide a fresh perspective for existing fans.
  • In transmedia, ‘the fiction is the brand.’ The brand consists of the characters, topics, and aesthetics of the series. In this way, even work by fans can play a part in the expansion of the fictional universe if it applies these characteristics effectively to create new scenarios.



  • “angelam” 2013, ‘How Transmedia Brought Firefly Back to Life’, blog, 24 November, ENGL 359: Transmedia Fiction, viewed 7 March 2014, <http://transmedia.umwblogs.org/2013/11/24/how-transmedia-brought-firefly-back-to-life/>.
  • Scolari, C A 2013, ‘Lostology: Transmedia storytelling and expansion/compression strategies’, Semiotica: Journal of the International Association for Semiotic Studies, Issue 195, pp. 45-68.
  • Scolari, C A 2009, ‘Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production’, International Journal of Communication, vol. 3, pp. 586-606.
  • Johnson, D 2007, ‘Inviting Audiences In’, New Review of Film and Television Studies, vol. 5, no. 1, pp. 61-80.
  • Whedon, J 2005, Serenity: Relighting the Firefly, DVD extra, Universal Pictures, USA

Task 1: Pokemon

Tiffany Tan (s3379763)
Christine Luong (s3381602)


Jenkins, H 2010, ‘Transmedia Storytelling and Entertainment: An annotated syllabus,’ Continuum: Journal of Media & Cultural Studies vol. 24, no. 6, pp. 943–958

In the Journal of Media & Cultural Studies [Dec 2010], Henry Jenkins gives an in-depth analysis of the concept of transmedia and its relationship towards storytelling and entertainment. He begins by defining what transmedia is which provides a good entry point by clarifying any misunderstandings before he delves into specific examples. He defines transmedia storytelling as ‘a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience.’ Jenkins also brings up terms within the concept of transmedia such as the distinction between storytelling and branding. This is beneficial to determine the motivations as to why certain companies focus on certain areas of transmedia and not necessarily both branding and storytelling. While Jenkins does not talk too deeply about fan culture, he still draws brief attention towards the idea that extra narrative/character background (transmedia storytelling) encourage followers to engage more with the text (creating more meaningful internal connections with characters). Branding on the other hand is seen to play a more influential part in the financial side of transmedia to ‘enhance the franchise’s branding.’ Throughout the journal, Jenkins provides many well thought out real life examples of transmedia (e.g. Starwars) giving readers a much better understanding of this concept.


Bolin, G 2010, ‘Digitization, Multiplatform Texts, And Audience Reception’, Popular Communication, vol. 8, no. 1, pp. 72-83, Communication & Mass Media Complete

Goran Bolin’s article ‘Digitization, Multiplatform Texts, And Audience Reception’ offers an analysis and insight into ideas surrounding transmedia. Bolin emphasizes that transmedia storytelling is not the mere use of multiple platforms.

Bolin contends that television still “hold[s] a prominent position” amongst other interconnected technologies including radio, the Internet, and mobile phones. For this reason, Bolin discusses the benefits of transmedia storytelling for increasing audience engagement of different television series.

Bolin explains that by combining other forms of media into the storytelling within a television program “opens doors for innovative narrative structure.” This is because the program is able to utilize the unique merits of each platform.

Bolin also describes the significance that transmedia holds within the realm of advertising, where it can be used to “influence audience expectation.” As a result, Bolin suggests that transmedia storytelling can be driven by market and artistic motivations.

Bolin goes on to state that the digitization of texts “is liberating for audiences and gives them a certain amount of power.” Thus, transmedia encourages audiences to participate in the production and expansion of the stories.

Overall, Bolin places a heavy focus on the difference between using different platforms, and actually using transmedia for storytelling. He also asserts a need for examining how audiences contribute to the text.


  • Films for transmedia storytelling can serve as entertainment in regards to Pokemon. Not everyone will watch every episode of the TV show unless they are huge supporters or fans. Even a person beginning an interest in Pokemon may be more likely to watch the film first (because it is a quicker process), then decide to watch the TV series (longer process that requires more commitment).

  • It’s not absolutely necessary to watch the film or TV series to know the characters. For some consumers, it is more about the entertainment seeing characters in adventure. They may only want to see characters go through trials and win and go through action sequences without having an emotional connection to want to find out more about character’s personal background. OR it could be the other way round, people who watch the TV series may already know facts about them e.g. their family, education, likes, dislikes without watching the films.

  • Transmedia introduced new concepts but more so as a sideline *extra stuff* but not essential to understanding serious concepts of Pokemon which means viewers are able to understand Pokemon TV series/film but may not pick it up as quick as others who are engaged with all platforms.

  • You get what you put effort in for. E.g. Watching T.V battle techniques for the games, or you could research techniques on google – you will still be able to engage with the gaming platform, but if you didn’t do these things, you can still play the game it will most likely just be a harder process. Therefore the Pokemon franchise exists of many media forms in which audiences can pick and choose the ones they want to engage in. They do not necessarily have to participate in all forms of media to understand what Pokemon is about.

  • Pokemon is seen via game consoles, card games, tv show, movies

  • Fan culture exists where there are online communities of Pokemon fans where they share insights/tips with one another. E.g. game forums

  • Downfall -> When you are given a Pokedex , if you are not a fan and do not engage with other forms of media, then you won’t understand the value of a Pokedex.



adfpf1 2013, Deviantart, USA, viewed 15 March 2014

Archive Foolz, viewed 15 March 2014

Bulbapedia, Bulbapedia viewed 23 March 2014

Pokemon Wiki, viewed 23 March 2014

Vesicularia, CBS Interactive, 2003, San Francisco viewed 23 March 2014

Wikimedia Commons 2013, Wikimedia Commons, Philadelphia, viewed 18 March 2014

WikiA 2006, WikiA, Tokoyo viewed 18 March 2014

 UIO Faculty of Humanities, UIO, Norwegia viewed 20 March 2014


Bolin, G 2010, ‘Digitization, Multiplatform Texts, And Audience Reception’, Communication & Mass Media Complete, Popular Communication, vol. 8, no.1, pp. 72-83.

Bulbapedia, Bulbapedia viewed 23 March 2014

Convergence is Here, 2012, Convergence is Here, Melbourne viewed 20 March 2014

Jenkins, H 2010,’Transmedia Storytelling and Entertainment: An annotated syllabus’, Continuum: Journal of Media & Cultural Studies, vol. 24, no. 6, pp. 943-958.

Task 1: A Song of Ice and Fire

Jasmine Tamara Subrata (s3338549)
Alexandron Zemtsov (s3381585)


A Song of Ice and Fire as Transmedia from Alex Zemtsov on Vimeo.

Independent Literature Summary 

#1. Alex Zemtsov

Dowd, Tom. Michael Fry, Michael Niederman, Josef Steiff (2013). Storytelling Across Worlds: Transmedia for Creatives and Producers. New York: Focal Press (p.3-32)

An exploration of Transmedia from the perspective of producers and creators rather than the typically dry theoretical approach taken by many other papers.

Starting by defining Transmedia, drawing upon regulatory definitions from the Producer’s Guild of America, as well as the writings of Henry Jenkins, to come to the conclusion that, amongst other things, “each expression has to tell a complete piece of a larger story”, the text then moves on to describe the process of creation, from finding an idea to commencing production. A large part of the paper is then dedicated to discussing audiences, presentation and platforms; the significance of, say, making a Transmedia element a motion picture, or a book.

Next, the more creative side of Transmedia production is explored; how will the story work? Here, the notion of “one world, many stories” is emphasized, wherein the world and its inhabitants are what ties a Transmedia project together. As such, it must be strongly fleshed out in order to remain coherent and believable. Next, ways in which elements can be formulated are outlined, including, most notably, the three terms of Adaptation (retelling in a different medium), Extension (alternative retelling with new narrative elements) and Expansion (a parallel work that broadens the story). Finally, the notion of a “cornerstone property” is introduced – the initial work that introduces central narrative elements – and different factors on the medium in which this should be presented are explored, as well as how audiences may interact with this and subsequent releases.

#2. Jasmine Subrata

Klastrup, L & Tosca, S 2004, ‘Transmedial Worlds – Rethinking Cyberworld Design’, Proceedings of the 2004 International Conference on Cyberworlds, p. 409-416


Transmedial worlds can be described as abstract content systems where the designers and consumers share the same understanding of the fictional characters and the universe in which they reside in. The specific world can originate from one media but can be elaborated and changed over time through different platforms. This is called adaptation, and it has two approaches; semiotic, which concerns the aesthetics between media forms, and story, which discusses which aspects of the story should be adopted or adjusted to fit the sign system.

All of the products and incarnations all share a basic foundational story with only a single acceptable version of a mythos, topos and ethos—these are the core elements of a transmedial world. Mythos is the establishing conflicts, stories, and lore items unique to the universe that one needs to understand in order to interact with world. Topos is the specific historical period and detailed geography. And ethos is the moral codex of behavior that the characters are supposed to follow.


  • Storytelling elements particular to a certain medium can be transposed to other media and retain their essence
  • With retroactive transmedia projects, certain works are more suited for the creation of a transmedia franchise based on the depth of their fictional world
  • Outwardly superfluous transmedia elements can have the effect of adding to the story and world as seen in the example of the Game of Thrones title sequence
  • The overwhelming popularity of a single transmedia element can have the effect of redefining the whole franchise
  • This redefinition is reminiscent of a shift in the cornerstone work where transmedia elements stem from something that is not the original
  • Video games have the unique potential to allow the player to explore the fictional world from a first person perspective
  • Additionally, they have the potential to give the player a unique agency that cannot be achieved in other media platforms where alongside exploring the world, can also change it
  • The repeated production of adaptations can be successful even if the story is not sufficiently altered if they leverage the unique capacities of their particular media



Abraham, D 2011-present, A Game of Thrones, comic book series, Dynamite Entertainment, United States

Dena, C 2014, “Chapter 1” Transmedia Primer by RMIT PP1.14

Dowd, T, Fry, M, Niederman, M, Steiff, J 2013, Storytelling Across Worlds: Transmedia for Creatives and Producers, Focal Press, Waltham, Massachusetts, p. 3-32

Fiorelli, G 2013, ‘Transmedia Storytelling: Building Worlds For and With Fans’, The Moz Blog, weblog post, April 23, viewed 14 March 2014, < http://moz.com/blog/transmedia-storytelling-building-worlds-for-and-with-fans>

Game of Thrones 2011-present, television program, HBO, United States

Jenkins, H 2008, Convergence Culture: Where Old and New Media Collide, NYU Press, New York

Jenkins, H 2007, ‘Transmedia Storytelling 101’, Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins, weblog post, March 22, viewed March 16 2014, <http://henryjenkins.org/2007/03/transmedia_storytelling_101.html>

Jenkins, H 2009, ‘The Revenge of the Origami Unicorn: Seven Principles of Transmedia Storytelling’, Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins, weblog post, December 12, viewed March 16 2014, <http://henryjenkins.org/2009/12/the_revenge_of_the_origami_uni.html>

Klastrup, L & Tosca, S 2004, ‘Transmedial Worlds – Rethinking Cyberworld Design’, Proceedings of the 2004 International Conference on Cyberworlds, p. 409-416

Martin, G 1996-2011, A Song of Ice and Fire, book series, Bantam Books, New York

Schedeen, J 2011, IGN, September 21, viewed 14 March 2014, < http://au.ign.com/articles/2011/09/21/a-game-of-thrones-1-review>

Shaw-Williams, H 2013, Game Rant, 23 December, viewed 14 March 2014, <http://gamerant.com/telltale-games-game-of-thrones-tales-from-the-borderlands/>

The Walking Dead. 2012. PC [Game]. Telltale Games: California

The Wolf Among Us. 2013. PC [Game]. Telltale Games: California

A Song of Ice and Fire as Transmedia from Alex Zemtsov on Vimeo.