Problems with the current transmedia state: Part 2

In Part 1 of this post I was talking about transmedia storytelling and about how, at least in its current form, it isn't really reaching its full potential.

Here in Part 2 I'm going to try and tackle my issues with current transmedia properties by giving an overview of my own idea for a Harry Potter themed transmedia project.

Firstly, why Harry Potter?

Well; it's a huge franchise already, is built upon a universe which gives great opportunity for expansion and has already crossed over into different mediums: three key points that allow for a new transmedia entity to be successful. (This isn't to say that a new franchise can't attempt the same thing of course, but we're still in relatively early days as far as transmedia storytelling is concerned, and so established franchises are in a better starting position).

Humble beginnings for the 'Harry Potter' film franchise

So, how would my Harry Potter transmedia property work?

It's based upon the idea of combining a video game, a website and a television show to create a cross-platform storytelling experience. Not exactly the idea of telling one story across different mediums, but rather using different mediums to tell multiple stories that all relate to the same world, the same parent property.

It begins with the video game: An MMO game (massively multiplayer online game) set at Hogwarts Castle and the surrounding areas. Each player creates and takes control of a Hogwarts student who can then freely explore the game-world, take part in quests and activities and can interact with other player characters who are all roaming the grounds simultaneously. The game is designed to encourage player to player interaction and offers the players the necessary tools to create their own adventures.

Previous 'Harry Potter' video games have fallen short of fan expectations

The most important feature however, would be the game's 'replay editor'. Similar to previous games who have used the technology (Grand Theft Auto 4, Driver 3 etc.) the game would allow players to view their previous game-play, and use editing tools to cut together a short movie created from their in-game activities. A player could, for example, have a duel with another character and then use the replay editor to turn it into a Harry Potter/Western duel mash-up. The possibilities are limited only by each player's imagination.

That's just the first stage though.

In stage two players would be able to upload their video creations to a specialised website where other players (and people interested in the website only) can watch, comment on and vote for their favourite movies. The system would work much like Lego Cuusoo, whereby popular creations are voted into a review stage, and here's where it gets exciting.

The third stage takes this to another level. The most popular video creations will be judged by a team consisting of creators of the video game and of the Harry Potter franchise. The videos deemed good enough will then be taken and transformed into short cartoons by a dedicated animation team, ready to be broadcast on children's TV networks.

A look at how this 'Harry Potter' transmedia franchise could cross multiple platforms

From video game to children's TV show this process takes one property and expands it beyond traditional media platform boundaries. It puts creativity in the hands of the consumer whilst retaining enough company control to ensure quality content.
Though admittedly ambitious, it is a promising transmedia platform. Not only does it engage and involve audiences through the creation and selection processes, but it also combines the audiences from video games, the internet and television: players can become viewers; viewers can become creators; creators can become judges. The system allows for a level of involvement not yet seen within a transmedia property.

It might not, in this brief overview, be perfect, but what it does is answers some of the problems regarding current transmedia stories. Of course, Harry Potter is just one example, this method could be applied to multiple properties as well as new creations. The important aspects are the combination of video games, the internet and video content to engage and unite audiences.

Problems with the current transmedia state: Part 1

As I mentioned in my last post, transmedia storytelling is the process of telling a narrative through multiple mediums and sources; but, how effective are transmedia stories? Do they work as a form of storytelling, do they satisfy the new requirements of multi-screen audiences?

In my opinion, no, they don't - at least not yet. Transmedia storytelling is still a fairly new technique, and like with any new system or process, it takes time to work out just how it can work, and how it can function at its best. Current efforts at transmedia stories are having varied levels of success, but in my mind they aren't reaching their full potential.

I'm going to take a look at two franchises, Defiance and Halo 4, both recent forays into transmedia storytelling that highlight some of the issues with current transmedia efforts.

'Defiance' and 'Halo 4', breaking media boundaries?

Defiance, one of the first properties to be specifically pitched and created as a transmedia franchise, is a Sci-Fi TV show and online multiplayer game that takes place on a future, radically terra-formed Earth, that finds humans co-existing with an alien species.

The show is broadcast on the SyFy channel whilst the game is available across consoles and on PC. Players can watch the show, which develops the story of Defiance, and then play in that same world and meet the same characters that the TV show establishes. The way it works is that events in the show have an effect on the game world, but don't actively effect the players character or goal.

Halo 4 is a first person shooter (FPS) game, the fourth in the Halo Series of videogames. It is now accompanied by Halo 4: Forward Unto Dawn, a web-series (and now full length film) available online, on DVD/Blu-Ray and on Netflix. The film acts as a precursor to events of the game, and its success has led to the creation of Halo: The TV Series, which is currently in development.

The reasoning behind both of these franchises is simple: broaden the audience of a TV show, and of a video game, by bringing the two together. Science Fiction lends itself well to transmedia because the genre itself often creates large fan-bases, and therefore the biggest opportunity for tie-in content and the biggest chance that TV fans will also be gamers, or comic book readers, or web-TV watchers. It's not surprising that Sci-Fi franchises find it easy to make the leap from traditional entity to transmedia property.

Sci-Fi Fandom, the perfect market for transmedia franchises?

My issue with this though, is that by broadening the world of a niche game or TV show you merely adopt the same audience for a different format. Sadly the figures aren't available, but realistically what percentage of Defiance's viewership will be the gamers who invest in the universe? How many non-Halo fans will choose to watch the Halo web or TV series?

Of course, creating one story through multiple mediums is the point of transmedia storytelling – my issue isn't with these franchises attempting to broaden their narrative, it's with their approach. Defiance could have become a gateway for non-gamers to 'experiment' with video games. Halo 4: Forward Unto Dawn could have brought in a new audience to the Halo Series, but sadly because of their marketing and production they merely attract an audience who is already there.

One of the key ways I feel Defiance and Halo 4 have neglected the possibilities of transmedia is through their design. Take a look at the trailer for Defiance below, and also at the comparison shots of Halo 4 and Halo 4: Forward Unto Dawn.

 

Similarities in the visual styles between halo 4: Forward Unto Dawn and 'Halo 4' the game.

The trailer for Defiance screams 'video game' – everything from the special effects, the character and monster design right down to the dialogue and even the format of the show (which, admittedly, is less apparent in the trailer), is designed to emulate the feel of playing a game.

The same can be said for Halo 4: Forward Unto Dawn; the use of 'Heads Up Display' (HUD) shots in the film are made to copy the HUD you see whilst playing the game. The costume design, the dialogue, and again the format of the film, is all made to seem like a game.

At this stage it seems easy to criticise, but where is the solution? What can be done and why should anything be done? Well, for that you'll have to wait for my next post, in which I'll be answering those questions by giving an overview of my own ideas for a transmedia property centred on the Harry Potter universe.