Evolution of Transmedia Storytelling

We see this idea of one world, many stories as the pillar or transmedia
storytelling. An originally conceived transmedia world must be spacious and
detailed, rich and fertile enough to allow for growth over time with the ability to
be slightly different in each medium.
Dowd, 2013
Transmedia storytelling is the method of using multiple forms of media (e.g.
films, books, television series, games, etc.) in conjunction with each other to tell
a combined narrative. This can be performed in a number of ways, from the
combined television series, games and comics of Sonic The Hedgehog (SEGA,
1991) to the alternate-reality games (ARGs) such as generated by fans of the
Sherlock Holmes (BBC, 2010) or even the interactive marketing campaign for
Game of Thrones (HBO, 2011) such as the sights and smells of Westeros boxes
handed out during the early stages of the show. This is not to be confused with
adaptations, however, which is not transmedia being used to expand on a
current story, but rather to retell one in a different manner. For example, the
relationship between Game of Thrones (HBO, 2011) the television series and A
Song of Ice and Fire (Martin, 2011) a book series of the same story is not
transmedia storytelling but rather the adaptation to a different medium to
expand the fanbase of a single series.
This makes the examination of transmedia storytelling significantly more difficult,
as it is mired with misinterpretation when attempting to study the evolution of
transmedia storytelling, both as a gaming phenomenon and as a media focus in
general. As evidenced transmedia games can be seen as far back as 1991,
perhaps even further, but initially the main form of transmedia was an
adaptation, such as The War of the Worlds (1898, Wells) book being retold as a
film in 1953 and then as a radio production in 1968. This is an excellent example
of a story being told as a transmedia subject, but not as transmedia storytelling,
perhaps due to technical restrictions. As time has passed and technology has
developed, greater opportunities for transmedia have become available, with the
inclusion of the internet as a media outlet and games as a form of storytelling
media. Alongside reduced production costs to allow investment into more than
one medium, this has paved the way for the possibility of numerous transmedia
examples.
However, the enthusiasm and willingness to seize these opportunities is not
always evident. Many contemporary productions still focus in on a set medium
for one reason or another, yet still produce transmedia productions unwittingly
as part of the mainstream production pipeline. According to research gathered
for this case study, it appears highly likely that the number of transmedia
storytelling productions will continue to grow, but not as a field of its own. It
seems most apparent that its evolution will be marked by finances and that
larger companies with bigger budgets will contribute to its progress, with
command over several markets raising profits. Meanwhile transmedia storytelling
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will likely have a tougher time establishing itself in the realm of indie developers
and their franchises due to budget issues.
This can be determined with book sources and professional documents on
transmedia such as books examining transmedia in any capacity in relation to
previous examples and the manner in which they were employed, as well as
looking directly at the productions involved from the past to present, alongside
journal, media and community coverage involving them.
Transmedia franchises have existed at least since at least the late 1970s though
possibly even before this, most notably the Star Wars franchise (Lucasfilm,
2016), with a universe constructed through movies since 1977 alongside
miscellaneous extended universe material including novels, television series and
games. Meanwhile, lesser known franchises such as the fantasy series Thieves
World (Asprin, 1978) received the Thieves World (Abbey, 1981) RPG (roleplaying game) to support in in the early eighties. Unfortunately it is difficult to
gauge the success of a franchise as a transmedia franchise, as for smaller
franchises such as Thieves World (Asprin, 1978) there are no public sales
figures. Meanwhile, larger franchises present a different problem in that with the
number of sources of input since the franchises creation it can be hard to
accurately break down whether the franchise has been a success due to its forms
of transmedia, and the amount of success each medium has enjoyed.
Star Wars (Lucasfilm, 2016) is guilty of this. While the collective cinema sales of
the eight movies (including the 2008 Star Wars: The Clone Wars (Lucasfilm,
2008) movie) reaches approximately 6.2 billion dollars, the sales figures for the
rest of the franchise are not so readily-accessible, with 358 novels having been
produced from Han Solo at Stars End (Daley, 1979) and The Force Awakens:
Reys Story (Schaefer, 2016), with a combined sales of almost two billion dollars
but little to suggest the breakdown for the amount per novel. Similarly the 138
games starting at Star Wars: The Empire Strikes Back (Parker Brothers, 1982)
and currently ending at Star Wars Battlefront (Electronic Arts, 2015) stake a
claim to almost 3.5 billion dollars (Statistic Brain Research Institute, 2016). All of
these figures alongside the Star Wars (Lucasfilm, 2016) following and Disneys
decision to buy the franchise say that it has been successful, corroborating the
idea that larger franchises have the best chance of utilising transmedia, but says
little for its success as a transmedia franchise bar Disneys decision to abandon
the Star Wars (Lucasfilm, 2016) expanded universe.
Almost immediately after its $4bn (2.49bn) purchase, Disney killed the
Expanded Universe, declaring it all out of continuity to the new direction it
planned to take Star Wars in. Only Episodes I-VI and The Clone Wars CGI
animated series would now "count", and even the latter was on the chopping
block for a while. (Kamen, 2015)
As the decision to scrap the extended universe of books and games was made
recently, it could be suggested that the Star Wars (Lucasfilm, 2016) series was

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successful as a transmedia franchise from its inception in the late 1970s at least
until the abandonment of the original extended universe in 2015, as books and
games continued to be published up until that point, something which could not
have happened if their production had not been economically viable for their
creators. Further books have already been produced for the new universe,
additionally, in-keeping with the belief that we expect a franchise to have
transmedia aspects, and are then disappointed if a franchise only produces in a
single medium. (Dowd, 2013) This is perhaps true, as other major franchises
such as The Matrix (Wachowski, 2003) largely known as a film franchise but also
featuring games, including Enter The Matrix (Shiny Entertainment, 2003) and a
comic series known as The Matrix Comics (Lamm, 1999).
Even franchises that begin in the games industry expand into transmedia. The
Deus Ex (Square Enix, 2011) series produced the book Deus Ex: Icarus Effect
(Swallow, 2011) in order to supplement the third game in its series, and more
recently Assassins Creed (Ubisoft, 2015) has produced supporting books such as
Assassins Creed Unity (Bowden, 2014) in order to expand on the characters in
their game of the same name. So in the current century, the production of
transmedia story franchises seems common, at least in franchises with a large
budget or brand to back them up. But their success in recent years does not
appear to be shared entirely by the lower-budget, independent developer and
kickstarter market. Most notably Tales of the Forgotten (Jones, 2016) a project
intended to combine artwork, literature and music into a transmedia experience,
failed to meet its funding goal on the tenth of March, with approximately a fifth
of the required funding. However, this may be an anomaly in the grand scheme,
or its failure may be entirely unrelated to its transmedia state perhaps it was a
marketing failure, or perhaps the story being told did not interest enough people.
With only 100 backers and a fifth of the required funding, this too is plausible.
In fact, it appears more likely in the light of other evidence. While Tales of the
Forgotten (Jones, 2016) failed to reach its mark, the game Dont Starve (Klei
Entertainment, 2013) has managed to tell a transmedia story well enough to
fund two instalments of downloadable content, with over 1 million downloads
(Tipps, 2014) as well as expanding its characters through sound, soundtrack,
artwork and imagery hidden in the game trailers such as the William Carter
Puzzles. It was evidently met with enough success to produce its sequel, Dont
Starve Together (Klei Entertainment, 2014). Both titles produced by an indie
company but nevertheless managing a successful transmedia franchise, this
seems to imply that Tales of the Forgotten (Jones, 2016) failed to succeed due to
some other factor, an implication backed by Kevin Moloney (2014) who states
Transmedia storytelling is not a new phenomenon, and is perhaps the oldest
technique we have for spreading information.
Here, Moloney and Dowd appear to disagree. Dowd (2013 p. XV) refers to
transmedia storytelling as the new frontier, going so far as to state that Were
in the early days of deliberate transmedia storytelling. However, Moloney states
the following:

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From memorized sagas transferred orally from one storyteller to another, to

cave paintings and art, the tales told through human history have found multiple
channels to their publicsMythic stories have always found new life, new form
and reinvention through the play of children, the imagination of artists and the
personal interpretation of listeners and readers. Single-medium communication,
of the kind seen through the 19th and 20th centuries, is perhaps an anomaly.
(Moloney, 2014)
This muddies the waters as far as the success or failure of indie transmedia is
concerned. If Dowd is correct and transmedia is a relatively new format, the
failure of smaller indie production transmedia may perhaps be due to it being a
new method of storytelling and thus still finding solid ground. If Moloney is
correct, on the other hand, it appears likely that the success or failure of certain
franchises may in fact be nothing to do with their success in transmedia. If
transmedia storytelling is the method through which we tend to draw
information, then there is little obvious reason for transmedia itself to be the
cause of success or failure, and rather for it to be some other aspect of the
production.
Of the two, it appears that Dowd is correct, in that deliberate transmedia
storytelling is a relatively new phenomenon. Of many series and movies
appearing in the 1980s very few made use of transmedia storytelling to expand
their narrative or universe. Such series included the Terminator (Skydance
Productions, 2015) series beginning with The Terminator (Orion Pictures, 1984)
then supported by a comic series in 1988 from NOW Comics, and later by Dark
Horse Comics from 1990 onwards beginning with Tempest. The franchise X-Files
(20th Television, 2002) performed a similar undertaking first with a television
series The X-Files (20th Television, 1993) then followed by The X-Files Game
(HyperBole Studios, 1998) and a comic series The X-Files comics (Topps Comics,
1995). However, few other franchises capitalised on this in the same way. Other
major media including the film Footloose (IndieProd Company Productions, 1984)
and the television series Dynasty (Aaron Spelling Productions, 1981) remained as
single-media productions throughout their entire runs.
This is not to say Moloneys diagnosis of the situation is completely incorrect.
Though only a small number of franchises took advantage of transmedia to
expand their story or world across multiple platforms, there is still evidence of
transmedia production at this time. Back to the Future (Amblin Entertainment,
1985) regarded by the Guardian (2011) as a film quite so complete, so
economical just perfect. was a transmedia production, receiving both book
adaptations and games, including the same-name game Back to the Future
(Software Images, 1985). The film Dirty Dancing (Great American Films, 1987)
did the same on a smaller scale, with a television series Dirty Dancing (The Steve
Tisch Company, 1988). However in both of these cases their transmedia was
adaptation. Their use of transmedia was to translate a story into a different
media form, rather than expand on it, making them transmedia but not an

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example of transmedia storytelling. This lends credence to the possibility that

transmedia has existed for a long time, but makes it likely that transmedia
storytelling is a recent phenomenon.
With this in mind, it begins to answer the question as to whether or not
transmedia storytelling will continue to grow as an important part of the media.
Franchises like Star Wars already show a continued transmedia narrative from
the late 1970s up until the present day, and a number of other post-millennial
series have adopted transmedia storytelling. The Incredibles (Pixar, 2004) movie
had its sequel as a video game, The Incredibles: Rise of the Underminer (THQ,
2005) and the crime drama series Dexter (John Goldwyn Productions, 2006)
made extensive use of the transmedia narrative with ARG (alternative-reality
games) in the marketing of its sixth season in 2010. This included fauxmagazines and crime scenes set up in American cities, alongside an animated
web series and small-scale mobile games. (Aubouin, 2010). Even more recently
The Walking Dead (AMC Studios, 2010) has made use of transmedia both
fictional and non-fictional, including zombie walks in a number of cities, online
mini-documentaries and animations, (Chamineaud, 2010) and the second game
set in the comic universe, The Walking Dead: Season 2 (Telltale Games, 2013).
Michael Samyn (2011) suggests transmedia especially in the field of video games
may have been inevitable with games emerging as a medium of their own. As
the video game industry suffered a crash in 1983 and did not recover until 1985,
(Caruso, 2011) there would have been a period of time leading up to the crash
and then afterwards as the games industry recovered when games as part of
transmedia would not have been considered as an economic unviability. Once it
recovered, however, Samyn has a suggestion:

It's not hard to imagine a medium radically changing under impact of computer
technology. And it's equally quite likely that an entirely new medium emerges
from this new technology, a medium that is as different from all the others as
cinema was from painting and printed text from marble sculptures. (Samyn,
2011, p. 2)

Considering the games industry is now ranked as the fourth most profitable
entertainment market, (Writer, 2015) it seems safe to say that gaming
successfully emerged as a medium from new technology, as Samyn described.
The radical change in existing mediums he describes could also therefore be
gamings inclusion into the industries, and the use of games to further
transmedia franchises. As the first instance of a video game was Bertie the Brain
(Kates, 1950) and was little more than an electronic version of tic-tac-toe, with
Tetris (Pajitnov, 1984) appearing much later with better-known story-based
games such as Doom (id Software, 1993) the chances that games as part of

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transmedia coinciding with the turn of the century and once again Dowds
belief that it is a new phenomenon seems likely.

If anything, based on its position in the entertainment industry profit statistics

the games industry appears to be engaging in more and more transmedia
storyline productions especially with the film and book industries. Star Wars
Episode VII: The Force Awakens (Lucasfilm, 2015) still proves a valid point here,
having taken advantage of Star Wars Battlefront (Electronic Arts, 2015) game
with the free Battle of Jakku (Electronic Arts, 2015) downloadable-content for the
game to illustrate a battle fought before the movies timeline. Meanwhile, Games
Workshop frequently augments its universe built in books with games, including
Warhammer 40000: Space Marine (THQ, 2011) and the upcoming Total War:
Warhammer (Creative Assembly, 2016). If this and the combined book/game
narrative of series such as Assassins Creed (Ubisoft, 2015) are any indication,
there is a strong likelihood that transmedia storylines will continue to be a part of
major franchises, with the games industry often serving as the common factor.
The synergy developing between the games and film industries corroborates
this, as said by Andy Serkis in an article by Steve Boxer (2013) for the Guardian
website, saying for instance, virtual production, pre-vis, many of the tools we
use in the film industry have come out of the games industry." With the two
industries complimenting each other in this way and cooperating in the
production pipeline, there are more opportunities for shared transmedia
narrative as the two industries advance together more closely technologically,
though likely mainly with larger companies with the budget to aid these
advancements.

The impact on the indie market, however, and its relationship with transmedia
storytelling, is less easy to recognise. Elaine Phillips (2015) believes that
transmedia is a great help to indie creators, stating thanks to YouTube, Twitter,
Amazon, WordPress, and other websites, independent transmedia storytellers
today have a wealth of low-investment means to distribute work. She offers
solutions to economic difficulties with If youre totally broke, perhaps tell one
characters story in a series of blog posts and see where that goes as an
example. However, the examples she gives to support her work extend only to
The Blair Witch Project (Haxan Films, 1999) and The Lizzie Bennet Diaries (Green,
Su, 2012) the former of which is almost two decades old and the latter of which
was an adaptation, rather than multiple mediums telling a unified story. She
manages to provide only limited evidence for successful indie transmedia
storytelling in the 21st century, and even this is years out of date while
aforementioned big budget franchises already have transmedia works planned
for 2016. This also supports Dowds (2013) belief that transmedia storytelling is
a relatively new concept, with big companies being best placed to attempt it with
enough funding from their existing mediums to survive in the case of a failure

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and being able to contribute to supporting ventures such as Boxers (2013)

technology development, while indie companies lack the funding for either.

Edward Panos (2014) by contrast sheds some more hopeful for indie
transmedia companies light on the matter. He states that the Seattle True
Independent Film Festival (STIFF) has changed its name to the Seattle
Transmedia and Independent Film Festival, and STIFF 2015 is planning to
emphasize transmedia projects. This seems to be good news for indie producers
as its name implies that it is putting a greater emphasis on transmedia
storytelling than before, suggesting that indie developers will meet with greater
success in the future with outlets such as festivals preparing to meet the idea of
transmedia storytelling, supported by a quote from the owner of the festival,
Timothy Vernor.

Transmedia means using more than one platform to tell a story. The platforms
we are most interested in are Feature Films, Short Films, Web Series, Video
Games, Role Playing (on websites, social media, interviews) & online and offline
comic books/graphic novels and we are very open to seeing what other
platforms become available.
(See Panos, 2014)

Vernor and Panos (2014) contradict the somewhat outdated findings of Phillips
(2015) despite being a year earlier, with the festival still maintaining its new
name into 2016 and thus providing a known forum for indie transmedia
storytelling lending greater credibility to their article despite being an earlier
piece.

The conclusion to be drawn here is that transmedia storytelling does not appear
to be waning in the creative industry. As major franchises such as Star Wars
(Lucasfim, 2016) have displayed, the practise of transmedia storytelling is alive
and well, and has managed to survive Disneys decision to scrap a large amount
of lore, as it is now being reconstructed once again through transmedia
storytelling. The purpose of this study was to analyse the state of transmedia
storytelling in the entertainment industry and predict where it would go from its
current state. From Dowd (2013) and Moloney (2014) it is now known that
transmedia storytelling is new as a deliberate concept, despite transmedia
existing prior, meaning that its appearance being most common in the bigger
franchises is not unexpected, especially alongside Boxer (2013) mentioning the

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technology coming out of the games industry, best funded by companies with
the budget to contribute to the development.

Meanwhile it appears to only be a matter of time before transmedia storytelling

fully establishes itself on the scene of independent developers. With the
expansion of the STIFF festival to include and even focus on transmedia
storytelling as according to Vernor (see Panos, 2014) in accompaniment with
successful indie media such as Dont Starve Together (Klei Entertainment, 2014)
marred only by select failures such as Tales of the Forgotten (Jones, 2016) which
appears likely to have faltered due to other circumstances, the indie scene does
appear to be making use of transmedia storytelling albeit on a smaller scale.
Though, there is still the possibility that indie developers will continue to struggle
with transmedia storytelling with the few sources found. Further research is
required, though, to be more certain of the state of the indie scene due to a
current lack of available resources to examine.

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