Henry Jenkins is one of the leading researchers studying transmedia, fanfiction, and media consumption. In graduate school, I read lots of his books and he is quoted in my thesis. Here, he details seven core principles to telling mixed-media, interactive stories (transmedia in his words). This article is pretty technical and long, but really great. I’ve pulled out the seven with a quote, just to wet your appetite.
Spreadability vs. Drillability – “the capacity of the public to engage actively in the circulation of media content through social networks and in the process expand its economic value and cultural worth”
Continuity vs. Multiplicity – Is the story linear from point a to b or is it fragmented?
Immersion vs. Extractability – “These two concepts refer to the perceived relationship between the transmedia fiction and our everyday experiences.”
Worldbuilding – The internal consistency of the characters, plot, and setting
Seriality – Lots of smaller stories combined together to form a larger narrative.
Subjectivity – The story outside the story, such as fanfiction, twitter wars, and cosplay.
- Performance – The reader performs the story in life.
From the Article:
I first introduced my concept of transmedia storytelling in my Technology Review column in 2003 and elaborated upon it through the “Searching for the Oragami Unicorn: The Matrix and Transmedia Storytelling” chapter in Convergence Culture. For me, the origami unicorn has remained emblematic of the core principles shaping my understanding of transmedia storytelling, a kind of patron saint for what has emerged as increasing passionate and motivated community of artists, storytellers, brands, game designers, and critics/scholars, for whom transmedia has emerged as a driving cause in their creative and intellectual lives. We all have somewhat different definitions of transmedia storytelling and indeed, we don”™t even agree on the same term ““ with Frank Rose talking about “Deep Media” and Christy Dena talking about “Cross-media.”
As Frank has put it, same elephant, different blind men. We are all groping to grasp a significant shift in the underlying logic of commercial entertainment, one which has both commercial and aesthetic potentials we are still trying to understand, one which has to do with the interplay between different media systems and delivery platforms (and of course different media audiences and modes of engagement.)
I will devote more time to applying some of these principles and reviewing the core concepts in later posts.
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