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The Digital Transmedia Narrative Composition of the Storytelling of Lost La Construcción Narrativa Transmedia Digital Del Relato De Lost

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The Digital Transmedia Narrative Composition of the Storytelling of Lost La Construcción Narrativa Transmedia Digital Del Relato De Lost The digital transmedia narrative composition of the storytelling of Lost La construcción narrativa transmedia digital del relato de Lost Víctor Álvarez Rodríguez. PhD student in the Interuniversity Doctoral Programme in Communication at the Uni- versities of Sevilla, Malaga, Cadiz and Huelva. Master’s Degree in Script, Narrative and Audiovisual Creativity from the University of Sevilla. Degree in Advertising and Public Relations from the University of Cadiz. Research line: analysis of audiovisual communication and advertising. University of Cádiz, Spain [email protected] ORCID: 0000-0003-4918-4261 Received: 08/07/2019 - Accepted: 12/11/2019 Recibido: 08/07/2019 - Aceptado:12/11/2019 Abstract: Resumen: Analysing the transmedia narrative through the virtual environment Analizar la narrativa transmedia a través del entorno virtual supo- ISSN: 1696-019X / e-ISSN: 2386-3978 means recognizing the communication model used by television ne reconocer el modelo de comunicación empleado por las ficciones fiction today and the behaviour of its audience. Thanks to the televisivas en la actualidad y el comportamiento de su audiencia. development of digital media, numerous audio-visual productions Gracias al desarrollo de los medios digitales, numerosas produccio- have addressed these platforms to transmit and expand their nes audiovisuales han abordado estas plataformas para transmitir narrative. The pioneering production in this field is the fantasy y expandir su narrativa. La producción pionera en este campo es la genre series Lost (2004-2010). Therefore, this research proposes serie de género fantástico Lost (2004-2010). Por ello, esta investiga- a methodology of analysis of the narrative discourse of three ción plantea una metodología de análisis del discurso narrativo de transmedia works in order to identify and study their repercussions tres obras transmedia con el fin de identificar y estudiar sus reper- in the final narrative of the work. In particular, the digital transmedia cusiones en la narrativa final de la obra. En concreto, se analiza la construction of the story is analysed in short films, ARGs and construcción transmedia digital del relato en cortometrajes, ARGs y videogames. All of this in search of the recognition of a single videojuegos. Todo ello en búsqueda del reconocimiento de una úni- common narrative formed thanks to different media and languages. ca narrativa común formada gracias a distintos medios y lenguajes. Likewise, the connection and dedication of the community of Al mismo tiempo también se explorará la vinculación y dedicación followers of the series with these proposals will also be explored. de las comunidades de seguidores de la serie con estas propuestas. Keywords: Palabras clave: Narrative, transmedia, fiction, television, audience. Narrativa, transmedia, ficción, televisión, audiencia. How to cite this article: Álvarez Rodríguez, V. (2019). The digital transmedia narrative composition of the storytelling of Lost. Doxa Comunicación, 29, pp. 97-111. https://doi.org/10.31921/doxacom.n29a5 July-December of 2019 doxa.comunicación | nº 29, pp. 97-111 | 97 The digital transmedia narrative composition of the storytelling of Lost 1. Introduction In recent times, we have witnessed a generational change in the television drama scene. The narrative constructions for this medium have been developed in an expansive way and with a special communion with the habits of the audience (Kinder, 1991). The 2004-2005 television season “was a real creative revival for networks thanks to the success of House, ISSN: 1696-019X / e-ISSN: 2386-3978 Lost, Desperate Housewives and Grey’s Anatomy” (Cascajosa, 2007: 20). All of these series, renowned fictional brands, have in common the same strategy of communication and a semantic construction based on “high quality standards, a particular idiosyncrasy of the plot, the characters, and a specific target audience, who are unconditional followers of these products” (Tous , 2010: 80). They are new audio-visual proposals that have succeeded in developing a new kind of viewer. This new generation of series has taken the television medium to unexplored lands. They are composed of new formats of audio-visual products that have gained a worldwide audience. Therefore, anyone can watch the same premieres of new episodes, releases, plots and advertising campaigns all over the world. Afterward, they can comment on everything internationally on the Internet. In addition, the case of Lost was composed of an “online community fragmented into subcategories to avoid spoilers” (Brooker, 2009: 58). This is a result of the Jenkins participatory culture (2008). It is based on the exchange of information, and on the search for synergies between television work and the Internet, in a strategy to promote a community of fans and a ‘participatory culture’ around the series in question, from Babylon 5 to Lost (Pérez, 2013: 79). This meant a break with the television programming of traditional networks. Thus, the space for the new viewing platforms on demand was born. The viewers can decide how to watch these works of fiction on their computers, mobile phones or televisions at the time and under the circumstances they choose. Even more, “the new viewer accesses the content in its original version thanks to the subtitles” (Ramos and Lozano-Delmar, 2011: 421). Gordillo (2009: 15) refers to this new television model as hypertelevision. This is defined as a type of television: “generalist, multi-thematic of different platforms, and the one that converges with the Internet and mobile telephony”. In this context, we can recognise this new style of series. They are productions that connect with different types of audiences through different media and networks, composing complex, autonomous, and at the same time complementary stories. The technological and communicative skills available for the current audience not only allow the cohesion of consumption, but also the branching of plots and the atomization of these according to the narrative and the media. In other words, the hypertelevision model brings on the transmedia construction of the plot, where “the dissemination of complex messages is adapted by adjusting them to the characteristics of each media to obtain a message that complements and diffuses individually” (Martí, 2010: 141). Within this new television model, the series Lost (2004-2010) stands out as one of the first dramas to provide viewers with spaces for the development of these new habits. Today this show is considered a television classic promoted by the filmmaker J.J. Abrams and produced by ABC television. It is one of the latest successes of the North American cultural panorama. Thus, Tous (2010: 89) considers that “Lost has become a matter of American popular culture”. This series was characterised by presenting some complex plots that were difficult to follow. Likewise, it proposed an important hybridization of genres through a horizontal construction of the main story. This was supplemented with vertical plots 98 | nº 29, pp. 97-111 | doxa.comunicación July-December of 2019 Víctor Álvarez Rodríguez based on flashbacks or flash-forwards focused on the protagonists. The series “Lost is an innovative serial product because of the way it integrates several genres and because it presents an interesting variant on the diegetic temporal structure through the analepsis of the characters” (Tous, 2010: 89). Cascajosa (2005: 5) also sees how “Lost has shown that it is possible for formal experimentation to find a gap among the general public, thus encouraging chains and producers to opt for treatments that go beyond the norm”. Therefore, it is in this regard that Lost is particularly relevant. This production becomes a reference for its generation and serves as a creative starting point for other creations. This series, in addition to an interesting narrative approach and a high level of production, is characterised by establishing the television consumption and narrative model of its generation thanks to the digital media. In fact, it is one of the first series to be promoted internationally on the Internet. Consequently, it takes advantage of this opportunity by offering transmedia content for the interaction of its viewers with the story. It proposes a new storytelling model focused on collective intelligence and fan communities. Scolari (2013: 160) observes, “Lost was born as a television work but soon expanded to other media and communication spaces to become one of the most interesting examples of transmedia narrative”. On this occasion, the special protagonism of the virtual environment is demonstrated. It offers an easier access and functionality to the communities, and at the same time is respectful with the conventional viewer’s continuous vision. Considering this digital dimension acquired by the series, there were many transmedia actions that were carried out by the producers of the show. Thus, the narrative was expanded in an intangible way through different digital works: ISSN: 1696-019X / e-ISSN: 2386-3978 Firstly, production of the so-called mobisodes, or webisodes, were produced. They were short episodes between two and four minutes originally aimed at mobile phones (Scolari, 2013a). These productions sought to complete plots of the series with the same characters and even continuing scenes. The idea was to offer unseen parts of the story using the new platforms. Secondly, alternative reality games stand out. They are also known as ARGs (Alternative reality games). They
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