Master Thesis in Experience Design Story Bridges Aalborgin UniversityTransmedia Story Bridges in Transmedia Expanding transmedia stories across platforms in a meaningful way Annette Corpuz Breum & Hanna Skov Midtgaard Supervisor: Peter Vistisen Title Page University: Aalborg University Handed in: 31st of May 2013 Extend of the thesis: 250.279 characters with spaces or 104.3 Standard pages. Field of study: Cand.it. Oplevelsesdesign 10th semester Thesis supervisor: Peter Vistisen Submitted in partial fulfillment of the requirements for the degree of Master of Science (MSc) in Information Technology (Experience Design) Annette Corpuz Breum Hanna Skov Midtgaard Abstract This thesis focuses on the field of transmedia storytelling. Since the field is relatively new, it holds potential for further theoretical investigation and expansion. The theory behind transmedia stories in a structural sense, seems remotely unexplored, hence this thesis sets out to investigate transmedia stories, which criteria they have to meet when expanding from one platform to another platform and how to use these criteria to design concepts as part of a meaningful experience framework. This problem statement is divided into two parts in this thesis. Through a hermeneutic, theoretical approach, the process of answering the first part of the problem statement starts with investigating and defining the core terms associated with transmedia storytelling. Here, the thesis looks further into bridges as part of this meaningful framework, which results in the definition of three story bridges which are story elements that link the platforms together in a transmedia universe and provide the audience with motivation to cross them. In relation to the characteristics of a tentpole, three basic story elements are also presented, which are necessary components of any story: Characters, timeline (with corresponding events) and story universe. Here, the thesis provides an addition to the existing definition of tentpoles in a transmedia storytelling context. The story bridges are then arranged into the Story Bridge Model which is used to analyse actual transmedia cases. Through the use of the story bridges as variables, a design experiment is conducted where the method research through design is used, with the main goal of testing and using the model as well as challenging the knowledge accumulated throughout the thesis. Three videogame concepts become the result of this design experiment, where the story bridges are incorporated as variables. 1 An insight in regard to this design phase is that each of the story bridges have a different level of complexity. It is also argued that the Story Bridge Model can be used to design concepts as it enables the designer to focus on the relation between the story bridges during the design process. It is concluded that the criteria for the expansion of the transmedia story are valid, but that the knowledge regarding the design process cannot be generalized. The suggested to use of the model for designing concepts, through the use of the story bridges as variables, would probably need further practical validation. 2 Preface This thesis is the product of an intense half year, during which we have worked on understanding the field of transmedia storytelling. Our shared interest in stories of all formats is what started it all. To be able to work with stories that are engaging and entertaining have always been an interest for both of us, and through our master studies, our interest in transmedia storytelling was sharpened. The possibility of contributing to this field motivated us to keep on writing and challenge ourselves and each other. In the process, many insights where created and our different backgrounds facilitated interesting discussions and helped broaden our horizons. Working on this thesis together has been a valuable experience which we would not have missed for anything. Thank You’s First and foremost, we would like to thank our thesis supervisor Peter. It has been a long, exciting and sometimes difficult journey into a special world. Thank you for all the help, guidance and fun provided along the way. You played many roles during our writing of this thesis, as a mentor, skeptic and voice of reason. We could not have slayed this dragon without your help. Jesper and Rolf, thank you for your patience, constant support and help – also around the house. Writing a thesis sure made us forget about the dishes. Thank you to our families, who, despite their missing understanding of what on earth we were working on, still supported and wanted to help us. Jeff, our trusted sidekick, thank you for always providing smiles when needed the most. 3 4 Table of Contents Abstract .......................................................................................................... 1 Preface ............................................................................................................ 3 Thank You’s ........................................................................................................... 3 Table of Figures ............................................................................................... 9 Introduction .................................................................................................. 11 Meaningful Experience Frameworks ..................................................................... 13 Autoethnographic Standpoint .............................................................................. 15 Problem Statement ....................................................................................... 18 Research Questions ............................................................................................. 19 Methodology ................................................................................................. 21 Structure ............................................................................................................. 21 Delimitation ........................................................................................................ 23 Transmedia ................................................................................................... 24 Transmedia – Our hypothesis and Prior Understanding ........................................ 25 Defining Transmedia Through Cross-media ........................................................... 25 The structure of transmedia ................................................................................. 29 Tentpoles ................................................................................................................................ 29 Bridges .................................................................................................................................... 33 Transmedia and the Story .................................................................................... 35 Storytelling.................................................................................................... 41 The Narrator ........................................................................................................ 42 Time in Stories ..................................................................................................... 44 Plot ..................................................................................................................... 45 Characters ........................................................................................................... 47 World and Universe ............................................................................................. 48 5 New Insights .................................................................................................. 52 Transmedia Storytelling ................................................................................. 55 Discussing Transmedia Storytelling ....................................................................... 56 The Audience Experience in Transmedia ............................................................... 60 Puzzles, Mysteries & Other Motivators .................................................................................. 60 Immersion .............................................................................................................................. 62 Three Types of Story Bridges .......................................................................... 69 Story Bridge – Story Universe ................................................................................ 71 Story Bridge – Timeline & Events .......................................................................... 74 Story Bridge – Characters ...................................................................................... 77 New Insights Part 2 ....................................................................................... 82 The Model ..................................................................................................... 87 Case Analyses ................................................................................................ 93 Case Analysis 1 - The Dark Knight .......................................................................... 94 The Tentpole – Movie ............................................................................................................. 94 The Secondary Platform – Alternate Reality Game ................................................................ 96 Case Analysis 2 - Lost .........................................................................................