Franchise Building. Rhythma Kapoor Week 5. Plan for Today. Franchise Building Assignment 2 Group work 2 Mid term paper. Main Features of Transmedia Universes. Points of Entry Trigger Points Teasers Rabbit Hole Pivot Point Distributed Narrative CTAs The stop and go effect
Major productions + Legacy of cross-media (including official website)
Alternated Reality Publishing
Billing & Monetization
Use daily-used publishing asset to mimic reality
Use snacking-media channels
Federate & value the community
Tuning medias + individual story paths
Call2Act & gain the right to access stories
Film, music, video and computer games, Websites, television documentaries,books and product licensing are elaborately cross-referenced in the contemporaryentertainment industry through the usual suspects of magazines, newspapers,entertainment newsprogrammes, industry-related consumer and trade magazinesand electronic journals. The audience “learns” about a product through itsassociations in other cultural forms. (P.David Marshall)
e.g. The Matrix, Harry Potter
e.g. Mad Men, The Office
How do I tell
a Story within the world?
How much audience
participation is allowed?
How do new plattforms
make new stories possible?
suit the story best?
How can stories be connected?
In immersion, the consumer enters into the world of the story (e.g. theme parks),
In extractability, the fan takes aspects of the story away with them as resources they deploy in the spaces of their everyday life (e.g. items from the gift shop).
Transmedia storytelling takes the notion of breaking up a narrative arc into multiple discrete chunks or installments within a single medium and instead spreads those disparate ideas or story chunks across multiple media systems.
Transmedia extensions often explore the central narrative through new eyes; such as secondary characters or third parties.
This diversity of perspective often leads fans to more greatly consider who is speaking and who they are speaking for.
Transmedia extensions, often not central to the core narrative, that give a richer depiction of the world in which the narrative plays out.
Franchises can exploit both real-world and digital experiences.
These extensions often lead to fan behaviors of capturing and cataloging the many disparate elements.
The ability of transmedia extensions to lead to fan produced performances that can become part of the transmedia narrative itself.
Some performances are invited by the creator while others are not; fans actively search for sites of potential performance.
Heroes 360 experience had
more than 48 million page
views and 27 million video
Screen shot from 1987
television series Teenage Mutant
Image of 1990 movie
poster for Teenage Mutant Ninja
Image of 1989
computer game released on
Nintendo for Teenage Mutant
the main narrative
being provided for young
women in Africa
with more than 10,000
Find THREE interactive storytelling toolsthat help enhance interactivity and audience building.