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Transmedia Storytelling (also known as transmedia narrative or multiplatform storytelling, cross-media seriality〔) is the technique of telling a single story or story experience across multiple platforms and formats including, but not limited to, games, books, events, cinema and television. The purpose is not only to reach a wider audience by expanding the target market pool, but to expand the narrative itself.〔Phillips, Andrea. (2012) Transmedia Storytelling.〕 Henry Jenkins, author of the seminal book ''Convergence Culture'', warns that this is an emerging subject and different authors have different understandings of it. He warns that the term "transmedia" ''per se'' means "across media" and may be applied to superficially similar, but different phenomena. In particular, the concept of "transmedia storytelling" should not to be confused with traditional cross-platform, "transmedia" media franchises, or "media mixes". From a production standpoint, transmedia storytelling involves creating content that engages an audience using various techniques to permeate their daily lives. In order to achieve this engagement, a transmedia production will develop stories across multiple forms of media in order to deliver unique pieces of content in each channel. Importantly, these pieces of content are not only linked together (overtly or subtly), but are in narrative synchronization with each other. ==History== The origins of the approach to disperse the content across various commodities and media is traced to the Japanese marketing strategy of media mix, originated in early 1960s.〔Steinberg,Marc, ''Anime's Media Mix: Franchising Toys and Characters in Japan.'' (p. vi )〕〔Henry Jenkins, Convergence Culture: Where Old and New Media Collide'', (p. 110 )〕 Though some have traced the roots to ''Pamela: Or, Virtue Rewarded'' (1740) written by Samuel Richardson and even suggest that they go back further to the roots of earliest literature.〔Prior, Karen Swallow, ''(The New, Old Way to Tell Stories: With Input From the Audience )'', The Atlantic, October 18, 2013〕 By the 1970s and 1980s, pioneering artists of telematic art made experiments of collective narrative, mixing the ancestors of today's networks, and produced both visions and critical theories of what became transmedia. With the advent of mainstream Internet usage in the 1990s, numerous creators began to explore ways to tell stories and entertain audiences using new platforms. Many early examples took the form of what was to become known as alternate reality games (ARG), which took place in real-time with a mass audience. The term ARG was itself coined in 2001 to describe The Beast, a marketing campaign for the film ''A.I.: Artificial Intelligence''. Some early works include, but are not limited to: * Ong's Hat was most likely started sometime around 1993, and also included most of the aforementioned design principles. Ong's Hat also incorporated elements of legend tripping into its design, as chronicled in a scholarly work titled ''Legend-Tripping Online: Supernatural Folklore and the Search for Ong's Hat''. ISBN 978-1628460612〔Kinsella,Michael. ''Legend-Tripping Online: Supernatural Folklore and the Search for Ong’s Hat'' University Press of Mississippi, 2011〕 * Dreadnot, an early example of an ARG-style project, was published on sfgate.com in 1996. This ARG included working voice mail phone numbers for characters, clues in the source code, character email addresses, off-site websites, and real locations in San Francisco. * FreakyLinks (link to archived project at end of article), 2000 * ''The Blair Witch Project'' - feature film, 1999 * ''On Line'' - feature film, 2001 * The Beast - game, 2001 * Majestic - video game, 2001 The Macaulay Honors College, part of CUNY, New York, established a New Media Lab focusing on Transmedia Storytelling and content, under the direction of Robert Small. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Transmedia storytelling」の詳細全文を読む スポンサード リンク
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