This article looks at some of the fundamental problems that feed into recent debate and research on transmedia narratives and/or transmedia storytelling. These issues have been approached as questions or challenges for all the disciplines involved in the discussions (comparative media studies, transmedia narratology, game studies, cultural studies and comparative literature): from the key elements of the potential novelty of transmedia storytelling or transmedia narratives, through to the new role of audiences, the declining influence of the narrative factor as it is overtaken by the building of storyworlds and transmedia characters; the influence of videogames, attention and comprehension deficit to the role of adaptation in TS; the "demediating" effect or the loss of media specificity in TS theory; the importance of collaborative creation and how to stimulate it for new (academic/business) research projects and teaching, in order to respond to the new industry dynamics and sociocultural habits. In interviews, made and conducted by Domingo Sánchez-Mesa, these issues, among others, have been put to three prominent figures in academic research and the creative professions in the area of new media: Espen Aarseth, Robert Pratten and Carlos A. Scolari. The three-way dialogue, that also has connections with other articles in this edition, has generated a polyphonic discourse that aims to produce a critical x-ray of our object of study. Palabras clave transmedia storytelling, narrativa transmedial, adaptación, especificidad mediática, videojuegos
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Ever since Henry Jenkins published his oft-cited article on "Transmedia Storytelling" in Technology Review (2003), transmediality has become a crossroads and a meeting place for researchers from different disciplines (Media Studies, Narratology, Visual Arts, Marketing, Comparative Literature, Semiotics, Theatre and Performance Studies, Game Studies, Sociology, etc.) as well as authors and the public that are involved in the emerging forms of multiplatform and distributed story creation, production and participation that such transmediality involves.Likewise, intermediality, with the phenomenon of adaptations at its core, crossmedia franchises and new theories on storyworlds, also form part of the space for reflection, discussion and the intersection of digital arts, communication media and interactive technologies that are put forward in this volume of Artnodes. The articles that make up this edition convey the complexity and variety of perspectives and objects of study and the need to revise or rebuild the methods and theoretical and critical tools that are used to construct cultural practice in the digital paradigm.
Este artículo aborda algunas cuestiones metodológicas concernientes a la relación entre medio (más en concreto, el asunto de la transmedialidad) y uso (más en concreto, el tema de la interactividad) en el área de lo fantástico. En particular, reflexiona sobre ciertas hipótesis fundamentales en torno a la manera en la que la faceta interactiva de las adaptaciones transmediales puede incrementar o disminuir el efecto fantástico. Se prestará especial atención a las cuestiones de tiempo y narración, por una parte, y de contexto y tradiciones mediáticas, por otra.
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