Seven Myths About Transmedia Storytelling Debunked Over the past few years, transmedia storytelling has become a hot buzzword in Hollywood and Madison Avenue alike--"the next big thing" or "the last big thing" depending on whom you ask. Last year, the Producer's Guild announced a new job title, Transmedia Producer, a decision that has more or less established the term as an industry standard. More and more companies are laying claim to expertise in producing transmedia content. But many using the term don't really understand what they are saying. So let's look at what people are getting wrong about transmedia. Myth 1: Transmedia Storytelling refers to any strategy involving more than one media platform. The entertainment industry has long developed licensed products, reproducing the same stories across multiple channels (for example, novelizations). Myth 2: Transmedia is basically a new promotional strategy. Yes, many early transmedia experiments were funded through marketing budgets. Myth 3: Transmedia means games.
Transmedia storytelling "Transmedia" redirects here. For a related process, see Transmediation. Transmedia storytelling (also known as transmedia narrative or multiplatform storytelling, cross-media seriality[1] etc.) is the technique of telling a single story or story experience across multiple platforms and formats including, but not limited to, games, books, events, cinema and television. Henry Jenkins, an author of the seminal book Convergence Culture warns that this is an emerging subject and different authors have different understanding. From a production standpoint, transmedia storytelling involves creating content[4] that engages an audience using various techniques to permeate their daily lives.[5] In order to achieve this engagement, a transmedia production will develop stories across multiple forms of media in order to deliver unique pieces of content in each channel. History[edit] Current state[edit] Educational Uses[edit] References[edit] Further reading[edit]
25 Things You Should Know About Transmedia Storytelling Let’s get this out of the way, now — this, like many/most of my other lists, could easily be called “25 Things I Think About Transmedia.” It does not attempt to purport concrete truths but rather, the things I believe about the subject at hand. I am something of an acolyte and practitioner in the transmedia cult, and sometimes give talks on the subject (as I will be doing next week in Los Angeles). So, here I am, putting my transmedia ducks in a row. Please to enjoy. 1. The current and straightest-forwardest (not a word) definition of transmedia is when you take a single story or storyworld and break it apart like hard toffee so that each of its pieces can live across multiple formats. 2. Transmedia is, admittedly, kind of a buzz-word. 3. The rise of any new or altered media form sees an awkward transitional period where everyone wants to define it. 4. Good storytelling is still good storytelling. 5. Transmedia these days is strongly marketing-centric. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.
Transmedia Storytelling and Alternate Reality Games Hypertextuality and Transmedia Storytelling Reading about the hypertextual and transmedial authorship of characters such as Batman and James Bond this week, I started thinking about the further decentralization of the role of the initiating author. As I’m not a big fan of fiction or graphic novel reading, I’ve never really considered the development of and purveyance of the iconic fictional characters we read about this week—James Bond and Batman specifically. I’ve seen Batman the television show and a few of the movies, but never immersed myself into other incarnations of the story. I’ve seen the first Matrix movie, but within 10 minutes of walking out of the theatre had unraveled the entire premise of the movie so much so that I wasn’t tempted in the least to sit through two sequels, let alone one. And now I see that what was on the screen was only a part of the story and I should have been searching for further information via their websites and short subjects.
Transmedia storytelling: Una historia multiplicada hasta el infinito | tokitan.tv o . Son dos conceptos que últimamente se escuchan muchísimo en el ámbito de la comunicación y que para mí tienen una importancia especial. Se trata de contar una misma historia utilizando diversos soportes, de forma que la historia se diversifica y, lejos de ser un relato lineal, se desarrolla en dimensiones paralelas relacionadas entre sí. La fórmula sería algo así como: Desde que comenzó a gestarse hace ya casi 2 años, Tokitan.tv ha pretendido ser . Si bien es cierto que uno de los pilares principales son los vídeos en sí mismos, hay otros elementos que sirven para completar esta historia. El concepto transmedia o crossmedia se materializa en la televisión web Tokitan.tv de diferentes maneras: Los vídeos están subtitulados de forma que son . Los contenidos audiovisuales hacen referencia a diferentes páginas y servicios web a través del grafismo, de forma que la información se puede ampliar hasta el infinito en Internet. En todos los casos se pueden . Hemos impartido .
Running With My Eyes Closed › Defining Transmedia What is transmedia and is it different than crossplatform? Good question. The terms are new and lots of people are using them in different ways. When I use crossplatform and multiplatform I’m talking about projects and content that make use of several different platforms or media. Transmedia is a subset of crossplatform. When I use transmedia two conditions have to be met: The story world must be expressed on at least three platforms. The expression of the story world on each platform must be unique, not the same content repurposed on a different platform. There are plenty of other examples of transmedia out there. For both the fan and the creator part of me, transmedia is very exciting.
Transmedia storytelling: más allá de la ficción Cada vez que se habla de “transmedia storytelling” terminamos mencionando increíbles experiencias crossmedia nacidas al calor de las nuevas series televisivas (24, Lost, etc.), largometrajes (Matrix, Star Wars, etc.) o literarias (Harry Potter, Crepúsculo, etc.). Los libros sobre narrativas transmediáticas -a partir de los textos de Henry Jenkins como “Convergence Culture“- también suelen estar centrados en las producciones de ficción. Y sin embargo…Podemos definir a una narrativa transmediática a partir de dos variables: - La historia se cuenta a través de varios medios y plataformas: a diferencia de los relatos monomediáticos, en las narrativas transmediáticas el relato puede comenzar en un medio y continuar en otros. Podría decirse que el relato aprovecha lo mejor de cada medio para contarse y expandirse. Hasta ahora la mayor parte de la reflexión sobre las narrativas transmediáticas ha sido “fiction-centred”. ¿Si esto no es “transmedia storytelling”, el transmedia dónde está?
Futures of Entertainment: Archives For more than a year now, I've written about taking a transmedia approach to journalism and how that approach can be best accomplished. I'm not talking in this sense about giving conglomerates the chance to squeeze more blood from the stone, to get three times as much work from half as many journalists, or else the myth of the uberjournalist, where one person should be sent into the field to take the pictures, do the story, get video, and then come back to write the story, publish the photographs, put the video up on the Web, appear on the TV station, and so on. Instead, what I mean is finding the best platform possible to tell the story in, to use each medium to its strengths. As I wrote back in that July post linked to above, "The problem is simply that convergence, as a buzzword, is too broad. The latest issue of The Convergence Newsletter features a piece by Randy Covington that originally ran in the Winter 2006 issue of Nieman Reports.
Myths and Realities of Convergence The ways in which people acquire news and information have changed far more than most newsrooms. It is a simple truth that explains why news organizations are struggling to match their journalistic values, traditions and strengths with the changing and sometimes fickle tastes of news consumers. Statistics on news consumption tell the story. Who could have imagined that a home video on a Web site that did not exist two years ago could attract more viewers than the most watched programs on network television? Training in New Techniques We observe this struggle for relevance—perhaps even survival—from the vantage point of the Ifra Newsplex at the University of South Carolina. The Newsplex philosophy, boiled down to a sentence, is that news organizations will be best served if they focus on stories—not delivery platforms. It sounds so simple. Do I file first for our Web site, or do I hold my story for the next day's newspaper or evening newscast?
The revolutionary power of transmedia storytelling There has been quite a bit of talk in recent years around the concept of transmedia storytelling. Few of these narratives have actually been implemented, but a select number of companies have chosen to satisfy consumer affinities, put great ideas on a pedestal, and think of creative ways to proliferate those ideas through carefully chosen channels. On a deeper level, transmedia narratives strike an amazing balance between medium and message. In doing so, an exposition can carry out a story arc through application and dialogue that transcends all media execution. Whether you are a brand, an agency, a studio, or a publisher, transmedia storytelling is and will be an integral part of our future success as media entities and content providers. Transmedia's historySo just what is transmedia storytelling, and why hasn't it been fully adopted? Hypersociability is a term used to represent the conversational -- or what Faris Yakob has coined as the "spread" -- nature of content. Next page >>