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Workshop Transmedia Storytelling Analysis

Tallinn University Baltic Film and Media School, 2014

Renira Gambarato

on 12 November 2014

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Transcript of Workshop Transmedia Storytelling Analysis

essential features of the design process

support the analytic needs of transmedia designers

applied research in the interest of the media industry

binomial analysis-synthesis approach

increase the possibilities of creating innovative stories
Game Over
Start :
How to analyze transmedia projects?
system, complexity
Transmedia Project Design Analytical Model
still an open question
relatively new subject
no specific methodology of analysis
General Systems Theory by Mario Bunge
system is a complex object, whose components are more interrelated than loose
= < C, E, S >

C = composition (set of components)
E = environment (milieu)
S = structure (set of relations on the union of C and E)

Transmedia = < (story, experience, platforms, etc.), (community), (engagement) >

Story = < (plot, characters, time, location, etc.), (community), (engagement) >

Character = < (demographics, psychographics, role, etc.), (storyworld), (connection, integration) >
closed system
open system
participatory transmedia project
interactive transmedia project
connection + integration

emergence of subsystems

number and diversity of relations

emergence of shared properties
[not yet]
What is the project about?
What is the project’s core?
Is it a fictional, a non-fiction or a mixed project?
What is its fundamental purpose?
Is it to entertain, to teach or to inform?
Is it to market a product?
Premise and Purpose
What is the target audience of the project?
What kind of “viewers” (real-time, reflective, and navigational) does the project attract?
What kind of entertainment does the target audience enjoy?
What kind of technology/devices do people
in this group is involved with?
Why does this project appeal to them?
Do other projects like this exist?
What is the project’s business model?
Revenue-wise, was the project successful? Why?
Audience and Market
What are the narrative elements of the project?
What would be the summary of its storyline?
What are the major events or challenges involved?
What is the time-frame of the story?
Does the project utilize gaming elements?
Does the project involve winning or losing?
What are the strategies for expanding the narrative?
Are negative capability and migratory cues included?
Is it possible to identify intermedial texts in the story?

When the story occurs?
Which is the central world where the project is set?
Is it a fictional world, the real world or a mixture of both?
How it is presented geographically?
How the world looks like?
Is the storyworld big enough to support expansions?
Who are the primary and secondary characters of the story?
Does the project have any spin-offs?
If so, who are the spin-offs’ protagonists?
Can the storyworld be considered a character of its own?
Can the audience be considered a character as well?
How many extensions does the project have?
Are the extensions adaptations or expansions of the narrative?
Is each extension canonical ? Does it enrich the story?
Does each extension answer questions left previously unanswered?
Does each extension raise new questions?
Does it open up new possibilities for additional expansion?
Do the extensions have the ability to spread the content and also to provide the possibility to explore the narrative in-depth?
What kind of media platforms are involved in the project?
Which devices are required by the project?
How each platform contributes to the whole project?
What are the distinctive characteristics of each media platform?
Is each medium really relevant to the project?
What is the roll-out strategy to release the platforms?
Which genres are present in the project?
Media Platforms and Genres
Through what PoV does the audience experience this world?
What role does the audience play in this project?
How the project keeps the audience engaged?
What are the mechanisms of interaction in this project?
Is there also participation involved in the project?
If so, how the audience can participate in the open system?
Does the project work as cultural attractor/activator
How does the audience affect the outcome?
What they add to the storyworld?
Are there UGC related to the story?
Does the project offer the audience
the possibility of immersion into the storyworld?
Does the project offer the audience the possibility to take away elements of the story and incorporate them into the everyday life?
Is there an important goal that the audience
is trying to accomplish in the project?
Is there a system of rewards and penalties?

When the transmediation began?
Is it a pro-active or retro-active TS project?
Is this project closer to a transmedia franchise, a portmanteau transmedia story, or a complex transmedia experience?
Can each extension work as an independent entry point for the story?
What are possible endpoints of the project?
How is the project structured?
What are the major units of organization?
How a map of the storyworld could be presented?
What kinds of visuals are being used in the project?
Is the overall look realistic or a fantasy environment?
Is it possible to identify specific design styles in the project?
How does audio work in this project?
Is there ambient sound, sound effects, music, and so forth?
Transmedia storytelling is both a reality and a tendency worldwide and the prospect of it is to grow and to improve rapidly

Transmedia analysis can help this process
The notion of system has become especially universal and is being extensively used. It refers mostly to an assemblage of parts forming a unitary whole
Since Aristotle, the idea behind system is that the whole is something over and above its parts
Mario Bunge considers that systems theories are ontological, i.e. they describe extremely general properties of things
strategy to subdivide
Transmedia Storytelling
Dr. Renira Rampazzo Gambarato
Transmedia stories that are mainly interactive can be considered closed systems, in which audience can act but cannot interfere with the story. Closed systems presuppose interaction but not participation.

An interactive project allows the audience to relate to it somehow, for instance, by pressing a button or control, deciding the path to experiencing it, but not being able to co-create and change the story.
Besides interactivity, open systems allow participation, i.e. audience can influence on the result and change the story. A participatory transmedia project invites audience to engage in a way that expresses their creativity, allowing them to co-create and influence the final result.

There are several ways to promote participation in transmedia storytelling, such as voting, casting, live events, etc.
transmedia story could be seem as a supersystem composed of nested systems and subsystems
Tallinn University - Transmedia Storytelling Analysis Workshop 2014
Full transcript