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Computer graphics (CG) and 3D modelling are providing new options for the creation of still images for transmedia stories. In the past, you either took photos or created images by hand using pencils, inks, or paint. The emergence of increasingly sophisticated 3D modelling software over the past two decades hasContinue Reading

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The preliminary interaction/call-to-action plan provides a detailed narrative description of the elements identified on the user journey diagram. This plan should highlight the calls-to-action of each key interaction. The four elements of the call-to-action are a simplification of the structure of perceptual opportunities outlined by Earnshaw and Vince (Earnshaw &Continue Reading

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A user journey diagram and its accompanying notes show how a user might move through a transmedia narrative. Time is mapped on the horizontal axis and the media channel or platform is on the vertical axis. The diagram provides a clear picture of the dependencies and bridges between each componentContinue Reading

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A storyteller alone in front of audience has a human voice, some gestures and facial expressions, and perhaps a few simple props to tell the story with. The creators of a multimillion dollar Hollywood epic film, on the other hand, have the full range of modern technology to tell theContinue Reading

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Designing a transmedia narrative to be location-agnostic also provides the author and audience with more flexibility than designing it to be location-dependent. Location-dependency can take at least three forms: Requiring the user to participate in a narrative or some of its elements at a specific location (e.g. having a gatheringContinue Reading

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Designing a transmedia narrative to be time-agnostic provides both the author and the audience more flexibility than making it time-dependent. Time-dependency can take at least three forms: Requiring the user to participate in a narrative or some of its elements at a specific time (e.g. scheduling an online or realContinue Reading

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The interactions and in-game events in well-designed ARG mimic real life and don’t announce themselves as elements in a game (Szulborski, 2005, p. 13). The virtual world is not modeled through a symbolic interface. Rather, the interactions in an alternate reality game can take many forms and are generally designedContinue Reading

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Designers will need to deal with a broad range of issues when addressing the deceptively simple question of whether the transmedia narrative focuses on individual versus shared participation. At one time, individual participation with a medium meant taking one’s book and retiring to a favorite spot, while shared participation involvedContinue Reading

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Storyboards are used to organize a story and list its key elements. A transmedia narrative can contain a combination of video, text, still photos, audio, graphics and interactivity presented in a nonlinear format. The first step in storyboarding a transmedia narrative is to divide the story into logical, nonlinear parts.Continue Reading

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Looking at a character’s development can become one or more stories in the storyworld. One could ask the question of how the antagonist/villain in one story came to be a villain. A story set in an earlier storyworld time could describe the journey of the villain, with that character inContinue Reading