Task 1 – Marvel Universe

Robert Fantozzi – s3381069

Moses Muldoon – s3382750

Neha Badiger – s3382869

TRANSMEDIA PRJECT ANALYSIS – MARVEL UNIVERSE

READING SUMMARY

Robert Fantozzi – What Transmedia Producers Need to Know About Comics: An Interview with Tyler Weaver
This article by Henry Jenkins discuss’ the merits of Marvel comics and all subsequent media as an example of Transmedia, and furthermore, why and how Marvel and other superhero material is ripe for trans media evolution since superheroes very inception, and consequently, why it is from the creators point of view, a worthwhile endeavour artistically and financially.
He first outlines his definition of transmedia as that of the use of time. How much time can be put into a story and how much time is the audience going to give for it. It takes 2 hours to watch a film, 10 hours to play a video game, and could be endless amounts of time to read a book, comic or graphic novel. As such, he asks the question as to why the creators feel that time must and could be dedicated to the expansion of the transmedia narrative of Marvel comics. For that, he looks as the actual concept and creation behind ‘the superhero’. It is an escapist and reflective character that is wish fulfilment for the audience. As such, it is one thing to read a comic seeing superheroes like Iron Man fly across the pages, and it is another thing entirely to see it play out on the big screen. And then finally, the wish fulfilment purpose of the material reaches its full potential if allowed to play out on fully interactive mediums such as video games.
As such, the time and effort to create such thing as an interconnected Marvel cinematic universe and all surrounding media outlets that make up Marvel as a transmedia organism is outlined in the article as being a worthwhile investment in time (which is his understanding of transmedia) due to the cord striking nature of the material. Thus, the intention to expand the reach upon many media forms is so that the escapist experience of the Marvel universe can be experienced in all forms.
Neha Badiger – The Implementation of Transmedia Storytelling by Marvel Comics
From this article discussing Marvel’s multiverse and horizontal integration and transmedia trends, we are given a brief overview of their history and importance to pop culture. Beginning as a series of comic books and graphic novels in the 1940’s their popularity and influence has exponentially grown to the point where big blockbuster films, video and web games, TV shows and mobile apps were becoming a part of their storytelling world. Referencing Henry Jenkins’ “Transmedia Storytelling” the author looks at the direct application of transmedia storytelling shown in the Marvel universe.
Originally, creating heroes over multiple timeframes and occasions throughout the comic books Marvel had already started to begin producing this large multiverse, where we can see characters from separate series starting to appear in the same world, or universe. This has allowed for multiple types of crossovers within the franchise, and creating over 70 years of content has allowed for great exploration of minor and major characters. Thus we have the X-Men franchise, the ‘big heroes’ such as Iron Man, Thor and Captain America. Whilst they have previously existed in separate comic book worlds, they are now canonically known to exist in the same universe, all coming together with other superheroes and spies in the blockbuster film ”The Avengers” (2012, dir Joss Whedon, USA).
With this cultivation of story content, as well as actively generating new or adapting old content to new technological platforms, the author has shown that Marvel is taking advantage of modern technology to add to their continually growing transmedia stories.
Moses Muldoon – Marvel at Netflix: Intersecting Comics and Transmedia
In this article about Marvel comics and their transmedia development, the recent dealings between DC, Marvel Comics and Netflix are discussed. The plan from Marvel is to deliver ‘Marvel’s brand across all platforms of storytelling…’ which is a goal they are greatly achieving. The author tries to explain the scale and genius of Marvel’s exploits, explaining that the multitude of characters that, in the past, had been a nonfactor in the ideas of making films. However, the past has shown that some characters had defied this idea, namely Iron Man, Thor and Captain America. However, for those characters that the fans of Marvel want to see have content, there are other mediums that Marvel have taken absolute advantage of. Netflix with allow for lesser known characters to be given content that Marvel’s fans have always wanted. The article emphasises the ability that transmedia storytelling is exposing more audiences to the stories of Marvel, and also allowing the storytellers themselves to experiment and meddle with their own characters, as these different mediums don’t cost as much to produce as box office films, allowing them to tell their stories in brand new ways.
SYNTHESIS
Engage with your audience; respond to and respect their wishes
Have ‘set ups’ and ‘pay offs’. Reward the audience for their participation
Have a clear scope; don’t be too broad in your single stories, that’s what transmedia storytelling is for
Have a flexible story that isn’t confined to one medium ie. A story that only works on stage/the screen (musicals)
Use multiple platforms to tell, not only different parts of a world, but different worlds altogether in the same universe.
Keep your audience interested by releasing content on a frequent basis
BIBLIOGRAPHY

ADMIN. 2014. » Marvel at Netflix: Intersecting Comics and Transmedia The Nerd Machine. [online] Available at: http://www.thenerdmachine.com/marvel-at-netflix-intersecting-comics-and-transmedia/ [Accessed: 23 Mar 2014].
Boxofficemojo.com. 2014. Iron Man (2008) – Box Office Mojo. [online] Available at: http://boxofficemojo.com/movies/?id=ironman.htm [Accessed: 25 Mar 2014].
Gevorkian, A. 2012. The implementation of Transmedia Storytelling by Marvel Comics. [online] Available at: http://ibcomtransmedia2012.wordpress.com/2012/09/19/the-implementation-of-transmedia-storytelling-by-marvel-comics/ [Accessed: 25 Mar 2014].
Jenkins, H. 2014. What Transmedia Producers Need to Know About Comics: An Interview with Tyler Weaver (Part Two). [online] Available at: http://henryjenkins.org/2013/02/what-transmedia-producers-need-to-know-about-comics-an-interview-with-tyler-weaver-part-two.html [Accessed: 24 Mar 2014].
Jenkins, H. 2014. Welcome to Convergence Culture. [online] Available at: http://henryjenkins.org/2006/06/welcome_to_convergence_culture.html [Accessed: 24 Mar 2014].

Jenkins, H. 2014. Rethinking the “Value” of Entertainment Franchises: An Interview with Derek Johnson (Part Two). [online] Available at: http://henryjenkins.org/2014/01/rethinking-the-value-of-entertainment-franchises-an-interview-with-derek-johnson-part-two.html [Accessed: 24 Mar 2014].

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

Phillips, A. 2012. The Four Creative Purposes for Transmedia. In: Phillips, A. eds. 2014. A creator’s guide to transmedia storytelling : how to captivate and engage audiences across multiple platforms. New York: McGraw-Hill, pp. 41-54.

Waxman, S. 2007. Marvel Wants to Flex Its Own Heroic Muscles as a Moviemaker. New York Time, June 18.