By Colin B. Harvey (auth.)
Read Online or Download Fantastic Transmedia: Narrative, Play and Memory Across Science Fiction and Fantasy Storyworlds PDF
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Extra info for Fantastic Transmedia: Narrative, Play and Memory Across Science Fiction and Fantasy Storyworlds
My intention is to reach a point of synthesis, whereby the varying perspectives are able to work in concert with one another as far as possible. To achieve this synthesis, I’m going to propose other ways of thinking about transmedia storytelling, both in terms of creators and audiences (understanding that they are sometimes one and the same, or that there is at least some crossover), that gives primacy to the relational aspects involved in telling stories across multiple forms of media. This relationality, as I will explain, is founded in an approach which is both theoretically situated in cultural memory and emerges from a wide-ranging observation of different kinds of crossmedia narrative production.
Uk/news 2012). The scenario is that a ﬁctional post-Soviet state called Chernarus has been attacked by a virus which has previously eradicated most of the world’s population. As a player you’re told you can either act alone or team up with fellow survivors to negotiate the hazardous wasteland. com). Dean Hall and the creators of the ARMA II game, Bohemia Interactive, are currently developing a standalone version of DayZ. com). uk/news 2012). Hall attributes the game’s appeal to a dynamic between the game’s status as a ‘persistent world’ – a continuing virtual environment which cannot be restarted (Wolf 2008:287) – with the ever-present threat to the player of ‘permanent death’, meaning the absolute destruction of a character the player may have spent considerable time and effort developing.
In all examples of crossmedia storytelling, elements from elsewhere in the transmedia network are necessarily invoked, whether in a fashion which is integrated tightly in an intracompositional manner or, more loosely, as is the case with intercompositional examples. At the same time, other elements may be reinterpreted or ignored. For instance, the characters of C3PO and R2D2 recur between diverse media in the Star Wars franchise, articulated differently depending on the medium: as audiovisual signs in the various ﬁlms, television series and videogames, as still images in the comics, as audio signs in the radio series or as words in the case of the various novels.