The Media of Transmedia (DClermont)

Multimedia, in a general sense, is a medium that focuses on a form of media being transmitted through multiple outlets with the same story. It is the mass transmission of content through different media that have similar or unchanged elements. Multimedia reaches out to a set audience through set media, so chances are that the content itself would be niche to a particular medium. On the other hand, transmedia is the transmission of media that reaches out to all possible mediums that are interconnected with each other, only to lead into a singular theme of the content in question. That means the content that utilizes all possible mediums to tell and interpret different parts of the story can attract more attention to different audiences that were initially attracted by the content’s extra perspectives while not limiting to niche mediums. So anyone that has started a series that originated from a television series and notices that part of the story is continued or added on through a comic or novel can keep track of how it progresses until the next possible medium is available. It’s the factor of interconnectivity and relevance to a mainline story that makes transmedia such a variable medium of media dispersal

Media platforms being utilized in all possible areas to contribute to the overarching presence of a content's story.

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There are great examples of multimedia and transmedia that can originate from Japanese media. Different means of telling a story, whether it is through drama CDs, mangas (Japanese comics), light novel, games, and anime adaptations, all reach to different audiences that would be hooked into the story itself and wanting more in return. Even if it touches base on a few of the mediums that I previously mentioned, as long as it progresses the main line story, the newfound fans can be engaged. A series in particular that I want to use that exemplifies the presence of transmedia is one of my favorites, Gundam. The Gundam universe is expanded into different kinds of universes that follow the same convention of the original series, Mobile Suit Gundam, which aired in 1979. While there are different universal stories that carry the name, the main line universe in Gundam is noted as the Universal Century. It was at that point where the idea of transmedia started to influence the series itself. The Universal Century has been hailed as the most expansive universe in the entire Gundam series, with a plethora of side stories and sequels in the forms of novels, mangas, video games, a few movies, and anime adaptations.

The 1979 series directed by Yoshiyuki Tomino that spawned a pop culture phenomenon all around the world. 

There is an idea of the “media mix,” a phrase mentioned by The Art of Immersion author, Frank Rose, which correlates to the media approach that Gundam and many other series from Japan utilize to reach the general audience. The transmedia concept of media mix harps on one of Japan’s major consumers of these kinds of content; a demographic called otakus. Since otaku culture relies heavily on the transmedia approach to certain media, it is easy to see the direction of where potentially new stories could come about in the process. As characterized by Rose, “Otaku like to live in alternate realities, and sooner or later this means they want to start telling their own stories in the worlds others have built” (Rose 31). Otaku culture has extended into the Western audiences too, thanks to the migration of Japanese animation like Pokemon and Gundam to American televisions and markets.

One of the many novels for the Universal Century timeline of Gundam, Hathaway's Flash. This takes place later than some of the animated U.C. Gundam shows.

Gundam’s main line universe is heavily immersive, urging fans to explore different reaches of the Universal Century through available means. Notable interactions of fans and content can be sought through the Side Stories games and mangas that have existed to expand the lore of the Gundam mythos. Even textual novels such as Mobile Suit Gundam: Hathaway’s Flash and Gundam Sentinel tell new stories that correlate to the main timeline of the Universal Century. There are also recent interactions from Gundam’s English main website, en.gundam.info that have posted Gundam shows and events on their Youtube channel with about 518,000 subscribers that frequent their content. Merchandise of Gundam toys and memorabilia go through various avenues that have been made accessible thanks to the internet and social media, with groups like Gundamplanet and HobbyLinkJapan providing service for Western Gundam fans that want content that is normally and readily available from Japan.

The Gundam Versus series mashes all Gundam timelines in a 2 v 2 competitive arcade arena brawl. This game is consistently the most popular arcade game in Japan.

Outside of the attention and notoriety of Gundam’s Universal Century is the other timelines that were created to appeal to different generations at the time. The most familiar ones that first came to the Western audience were G Gundam, 08^th Mobile Suit Team, and Gundam Wing. With the exception of 08^th Mobile Suit Team, G Gundam and Gundam Wing were completely different series that had their own story, but still have the conventions of the original Gundam universe, thus giving them their own memorable identities. The multiple timelines were a method of media mixing that Gundam utilized that brought new fans as well as enticed older fans to watch and participate in the constantly-evolving nature of the series. Even the alternate timelines are given the same treatment as their Universal Century counterparts, with manga and video game spinoffs that tie into their own stories or lack thereof.

The various approaches present options for people that want to find their way into a series that interests the audience, but want to experiment through their own specific means of media consumption. With numerous ways to enter a series, the level of participation solely depends on the level of intrigue that is amassed by the consumer of that product. Through that intrigue, the consumer might want to see how others have introduced themselves into a particular medium of media consumption, creating a network of like-minded individuals that want to find out more about a series. However, the participation could be separated based on the level of involvement a person may have, or if they “get” the idea of what a series is about. Similar to how the hardcore audiences of The Matrix consume different media platforms to get the full story and understanding of the series beyond the movie trilogy through comics and video games, as it was noted in Henry Jenkins’s Convergence Culture.

Using a multitude of media platforms can give stories a life of their own, encouraging audiences an opportunity to expand their horizons to create a story of their own. The ability to tell multiple stories through multiple platforms creates the possibilities that could influence a series as a whole. It depends on how the story of a series is capitalized to garner attention from all possible angles of entry. Once that series gains popularity, the widely consumable media trickles down into other media platforms for everyone else to obtain and enjoy amongst themselves before moving on to other platforms. The multiple platforms will only propel the audience to immerse themselves into the mythos being presented in a variety of paths to choose from, leaving only those heavily invested in a series that utilizes media mixing/transmedia wanting more for the series itself.

Works Cited

Jenkins, Henry. "Synergistic Storytelling." Convergence Culture: Where Old and New Media Collide

              New York: New York UP, 2006. 101-04. Print.

Rose, Frank. "2. Fear of Fiction." The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories. New York: W.W. Norton, 2011. 31. Print.