With the rising complexity of transmedia storytelling processes, it becomes more difficult to pinpoint one single authorial source. Characteristics of transmedia storytelling While Jenkins acknowledges the economic motives behind this process, he focusses primarily on the artistic vision and ambition of the producers. However, in the developing transmedia landscape the boundaries between text and paratext, between work and surrounding marketing, become blurred or even invisible. Like Kinder, Jenkins recognizes the commercial strategy behind transmedia storytelling. Reading across the media sustains a depth of experience that motivates more consumption.” (pp.95-96) Any given product is a point of entry into the franchise as a whole. Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, and vice versa. In the ideal form of transmedia storytelling, each medium does what it does best – so that a story might be introduced in a film, expanded through television, novels, and comics its world might be explored through game play or experienced as an amusement park attraction. “A transmedia story unfolds across multiple media platforms, with each new text making a distinctive and valuable contribution to the whole. In Jenkins' book Convergence Culture (2006) he distinguishes his concept of transmedia storytelling by giving a detailed definition: This shaped a culture of convergence and participation and has led to an increasing number of narrative universes created across media platforms. The internet started to enable a continuous exchange between fans and the creators of fiction, as well as facilitate the merging of media. However, increased digitalization at the beginning of the 21st century allowed for a different perspective on transmediality. Mary Celeste Kearney (2004) follows the same argument when talking about 'transmedia exploitation'. According to Kinder, transmediality is used as a commercial strategy. These franchise systems teach children to become consumers while allowing them to explore a fictional world. Transmedia is related to 'supersystems', that are “network of intertextuality constructed around a figure or group of figures from pop culture who are either fictional or 'real'” (Kinder, 1991, p. Kinder describes transmedia processes as the continuous expansion of multimodal media content across platforms in relation to the marketing of children's media. Marsha Kinder (1991) was one of the first researchers who used the term transmedia to look at commercial strategies of franchises. Although the concept is often used in relation to digital content, this is not a necessary component. These systems can include novels, comics, TV shows, games, as well as events or amusement parks. Transmedia storytelling focuses on “the tightly connected systems of stories and fictional events” (Tosca & Klastrup, 2020, p. In the context of a multi-layered media landscape, transmediality works from the observation that content is no longer confined to one medium, but rather works across media boundaries. Transmedia Storytelling is a concept introduced by Henry Jenkins (2006) that is used to explain the distribution of media content across multiple media platforms.
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