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One category of existents is the characters (Ryan, Storyworlds Across Media, 2011) – human or otherwise – which are sentient beings with the ability to feel, perceive, or to have subjective experiences. In science fiction and fantasy non-human characters described as “sentient” typically have similar abilities, qualities and rights asContinue Reading

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Determining whether a transmedia narrative is fiction, non-fiction, or a hybrid that includes both will have wide-ranging impacts on that narrative. Creating a fully fictional story will give the author a blank page to start with and allows all aspects of the characters, objects, events, and settings to be createdContinue Reading

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Storyworld Tagline The storyworld tagline, like the transmedia project tagline, is a single sentence that hooks potential users into the storyworld. The storyworld tagline should be closely related to the transmedia project tagline and, in the case of a project with a single storyworld, may be the same. Transmedia projectsContinue Reading

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A variety of story structures are possible with this storyworld framework. For example, Freytag’s Triangle (with or without flashbacks) (see Figure 1) can be represented with this storyworld framework. Selecting existents, events, and settings from some point in the story time’s past makes it possible to create flashbacks and flashContinue Reading

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A common technique in serial television narratives is the use of layered stories or plotlines. (Porter, Larson, Harthcock, & Nellis, 2002). This multi-layered story structure can be maintained using this framework (see Figure 1). Scenes or other elements of the main story can alternate with the sub-plots or sub-stories. TheContinue Reading

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Ryan notes that events provide a temporal dimension by creating a history of the changes that occur in the time span framed by the universe (Ryan, 2011). This temporal dimension allows for the development of dynamic storyworlds rather than static text worlds. A disadvantage, however, is that if every sequenceContinue Reading

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The second level of design tasks occurs at the storyworld level (see table below). At this level, the storyworld is created, level of user engagement and degree of user agency determined, and high level transmedia narrative’s interactions are documented. Design at the storyworld level is an iterative process in whichContinue Reading

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One of the key aspects to understanding how to create transmedia narratives was developing an understanding of the many different elements that went into a transmedia narrative. Equally important was understanding the relationships between those elements. The result was an ontology.An ontology is a description of objects, entities, and conceptsContinue Reading

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Rather than trying to include a bibliography of citations in the individual posts on this blog, I’ve decided to list the entire bibliography here. In addition to referencing individual aspects of the blog posts, this bibliography can provide a useful guide to literature relevant to transmedia narratives. Aarseth, E. (2004).Continue Reading