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Concepts and Models of Analysis of Interactive and Transmedia Narratives: A Batman’s Universe Case Study

  • Jorge Ignacio Mora-FernándezEmail author
Conference paper
Part of the Advances in Intelligent Systems and Computing book series (AISC, volume 918)

Abstract

This paper collects some core concepts of interactive transmedia storytelling to help to develop the discipline of interactive digital narrative studies and to establish functional models for identifying and analyzing interactive narrative elements in transmedia creations. The term “transmedia” was initially used by Marsha Kinder to refer to the intertextuality among films, animation, TV series and toys for children. Later, Henry Jenkins broadened the concept, using “narrative transmedia” first in Media Convergence and more recently in his blog http://henryjenkins.org. The present research introduces a model of analysis to study digital storytelling concepts, narrative elements and media characteristics used for generating transmedia using comics, films, webs, fan videos, and videogames. The model is applied to Nolan´s transmedia practices in his Batman’s Trilogy to observe and discuss the narrative remixed framework that renew the current DC Universe. The goal was to develop and applied an original transmedia model of analysis to study and draw conclusions about how the narrative elements of the actions, characters, spaces and times converge with coherence and intelligibility, and how immersive, interactive linear, emerging and circular elements serve to engage the fans. The conclusions present how the remix culture applied to interactive narrative design serve as valuable guidelines in the production of transmedia narratives. New but recognizable creations can evolve from the pre-existent modular narrative elements of characters -familiar in their appearance, abilities or personality- as they perform and interact with new actions in original spaces and times.

Keywords

Digital humanities Interactive linearity Interactive digital storytelling Transmedia Convergence Digital culture and edutainment 

Notes

Acknowledgements

This work was supported by the University California, San Diego, Arthur C. Clarke Center for Human Imagination, CA, USA. Universidad Nacional del Chimborazo, UNACH, Research Group IANCED R+D+C+I teractive Narrative Arts, Convergences & Emergences in Digital Cultures, Riobamba, Ecuador. Laboratorio de Cultural Digital, Universidad Complutense de Madrid, UCM, Madrid, & the Prometheus Project, SENESCYT, Secretary of Higher Education, Science, Technology & Innovation of the Republic of Ecuador, by the DIUC, Direction of Research of the University of Cuenca, through the Research Group CICNETART I+D+C, & the School of Philosophy, Letters & Education Sciences, Careers of Social & Digital Communication & Cinema.

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Copyright information

© Springer Nature Switzerland AG 2019

Authors and Affiliations

  1. 1.Research Group IANCED R+D+C+i Interactive Narrative Arts, Convergences & Emergences in Digital CulturesUniversidad Nacional del Chimborazo, UNACHRiobambaEcuador
  2. 2.Arthur C. Clarke Center for Human ImaginationUniversity CaliforniaSan DiegoUSA
  3. 3.Laboratorio de Cultura DigitalUniversidad Complutense de Madrid, UCMMadridSpain

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