Conclusion 2

To be successful and to be a true transmedia output, the project must be developed to cross over multiple platforms from the beginning. An product with additional features found online is playing it safe. What the innovators are trying to push is the concept of positioning the transmedia component, be it online or through a different medium, as a part of the created space generated by the content. New intellectual properties should no longer be “stretched” to cover different mediums, but they should now be prepared to encompass them.

Modern children’s content now focuses to being transmedia product. Instead of a one-off act on consuming media, the focus is no longer keeping the child involved with the narrative for a 30 minute block in front of the television but to immerse him/her in an entire world which the child has several methods of exploring.

Because today’s media consumer matures much more technology-literate than generations past, their expectations of what constitutes a good story have matured along with it. It is no longer difficult to venture outside of what is presented on-screen to read more about characters, or even to research on the people who produced it. With this information at hand, it refocuses the audience as a smarter and critiquing audience allowing them a much broader view of any media presented to them. If their attention cannot be kept, then the audience will lose interest. The decreased tolerance almost creates a democratic pressure between audience and producer.

LINKS

 * (back Australian Children's Transmedia Storytelling)