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Transmedia: Storytelling for the Digital Age
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a look at the creative and technical worlds of immersive storytelling
Curated by
The Digital Rocking Chair
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The Digital Rocking Chair's insight:
Nathan Anderson: "Following the release of Precinct 13, Episode 2 early this month, I wanted to take the opportunity to give some insights into how the project was produced, how it evolved from Ep 1 and the various challenges and highlights along the way." 
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James Carter: "After five seasons, two universes, and multiple timelines, Fringe ended its run January 18, 2013 on Fox. I’m proud to say I stuck with this show to the very end. More than anything – like other fans – I connected with the cast’s phenomenal performances. When the sci-fi was good, the show was great. When there was more “fi” than “sci,” the actors buoyed the show to the next peculiar portal."
The Digital Rocking Chair's insight:
A great case-study! Thank you James Carter :)
Asil's curator insight,
February 3, 2013 11:11 PM
Loved this show ... it had some 'jump the shark' moments, but it was one of the best scifi series to come along since BSG. I will miss the characters.
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![[Transmedia] Case Study Example: The Three Little Pigs | Transmedia: Storytelling for the Digital Age | Scoop.it](https://img.scoop.it/apuBa712cBaAaMGHXG4jQTl72eJkfbmt4t8yenImKBVvK0kTmF0xjctABnaLJIm9)
If the Three Little Pigs were told as a transmedia story it might be designed like this ...
[This has been rescooped for those who liked the Guardian's Three Little Pigs advertisement @scoopit http://bit.ly/zrlXvW]
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A Case Study looking at the strategies of the Brand 'Disney', and how well they are currently incorporating Transmedia, Multiplatform and Interactive experiences into their brand.
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Yesterday, in a post about developing existing properties towards becoming transmedia properties, I warned everyone to leave The Phantom be, ’cause he was mine to develop. A jest, naturally, but today it actually got me thinking a bit...
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![The Chimera Vector: The Future of Storytelling - A [Transmedia] Case Study | Transmedia: Storytelling for the Digital Age | Scoop.it](https://img.scoop.it/7u14uFjetgjCpX8VrEDpAjl72eJkfbmt4t8yenImKBVvK0kTmF0xjctABnaLJIm9)
Readers can open the ebook and listeners can play the audiobook. More visually-oriented readers can enjoy the graphic novel and the purely visual and auditory audience can experience the narrated, scored, graphic novel, which is a combination of all the above.
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Depending where you look or who you speak to, transmedia gets championed, misunderstood, knocked, supported, defined and re-undefined...
[A detailed look at the thinking behind "We Dream of Nothing".]
We Dream of Nothing is an original, science fiction fantasy story that connects two characters at opposite ends of the universe. The story is hidden inside the female lead’s dream research website. From there the Audience can explore the story through 28 episodes – combinations of video, comics, audio, collaboration, data swapping, and, well… all sorts of other fun things to see and do.
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The Adventures of The Electric Company on Prankster Planet is a really good example of both transmedia and serious games for kids. It expands the story experience for its audience, as well as providing a fun learning environment.
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The Digital Rocking Chair's insight:
TMC Resource Kit: "A Case Study & Interview with Alison Norrington on The Chatsfield, Harlequin Mills & Boon’s transmedia story world extending a series of 8 novels"
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Macaulay New Media Lab: "The more I engage with this fledgling series, the more I find out about the qualities of a good transmedia story. It isn’t enough to merely adapt a story for screen and print, there needs to be a compelling reason for it to bridge multiple mediums" ...
The Digital Rocking Chair's insight:
An interesting, but to-the-point, analogy ....
Debbie Elicksen 's curator insight,
April 5, 2013 10:46 AM
Comparing storytellers to drug dealers is certainly an attention grabber.
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"The project uses various means of expression for addressing the theme and the story (Emotein) through the prism of multiple approaches and experiences. The video, the book, the play, the objects, the interviews, the photos, the music are all independent and complementary ways to discover the Emotein universe." DRC: Another excellent case study from Transmedia Lab.
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A Case Study highlighting the successful brand of The Coca Cola Company, its registered trademark Coke, and how this brand tells it's story interactively by engaging the consumer through emotional connections to the brand.
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![[Transmedia Case Study] How Social Media Revived The Muppets | Transmedia: Storytelling for the Digital Age | Scoop.it](https://img.scoop.it/OmFgxBNi7Oy9aMooNwvgDjl72eJkfbmt4t8yenImKBVvK0kTmF0xjctABnaLJIm9)
A look at how social and digital helped reinvent "The Muppets" for the big screen.
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![[Case Study] Tron in transmedia | Transmedia: Storytelling for the Digital Age | Scoop.it](https://img.scoop.it/r77r-Qwbt44pIz_9wi4bSzl72eJkfbmt4t8yenImKBVvK0kTmF0xjctABnaLJIm9)
We discovered the roots of the Tron phenomenon in 1982 with Steven Lisberger’s film and arcade game that were released at the same time.
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The Courage Generator brought film, games and transmedia people to a full-day workshop where issues of interactive storytelling were discussed but also concrete examples of how you can practically work with transmedia tools and concepts.
[Lots of great videos of the day's presentations.]
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BMW Transmedia Case Study looking at how brands tell their story through different platforms.
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Oriane Hurard: "In reality, Cucumber, Banana and Tofu are the names given to the new transmedia creation signed by Russel T. Davies, the creator of Queer as Folk and Torchwood and Doctor Who’s showrunner from 2005 to 2010. Three series distributed through three different channels to tell a single and same story—so to speak."