Transmedia Storytelling: intelligent narratives or intelligent marketing? The case of LOST.

Henri Jenkins defends the emergence of a new kind of narrative (the transmedia storytelling) and the subsequent new experiences in the era of the convergence culture and the collective intelligence. The author explains the creation of complex fictional worlds, which can sustain multiple interrelated characters and their stories, and these worlds do not fix in a unique medium. He defends also the creation of the “synergy” narrations in which every term makes a needed contribution to the whole. This method introduces an active audience that must establish links among the fragments, travel in the diverse media and collaborate with their speculations to achieve the understanding of the story.

Infographic of LOST characters created by Martin Krzywinski

But, as Jason Mittell points out, the 90s phenomena of Narrative Complexity relishes in the pleasures of being manipulated successfully: “While fan cultures have long demonstrated intense engagement in storyworlds, policing backstory consistency, character unity, and internal logic, programs focus this detailed dissection onto complex questions of plot and events” (Mittell, 2006:38). Why does it happen?

To some critics as Henrik Örnebring, the transmedia storytelling is more about an “intelligent marketing” than an “intelligent storytelling”. Jenkins himself asserts that a media conglomerate has the aim to spread its brand across as many different media platforms as possible. In the same lines, for expanding the franchise around the world, the introduction of universal values or multicultural references turns out to be essential, as we can see with the stained glass in the last chapter of LOST.

Örnebring argues that transmedia storytelling is more hierarchical than the horizontal model described by Jenkins. It almost always involves an identifiable central text and a series of satellite texts that provide marketing for it. Indeed, TV shows are often the dominant text, not just because they can earn more money than other media, but also because they involve the longest commitment for the consumer (more than comics, blogs, videogames…). 

LOST is a clear example of expanding a world through several media and encouraging the productions of consumers. It is the case of transmedia storytelling, but also of intelligent marketing. Damon Lindelof and Carleton Cuse, the producers of LOST, decided to offer fans more insights into Lost’s mythology through alternate reality games (The Lost Experience and Find 815), mobisodes, novels, and a videogame. Some of the mysteries of LOST were revealed through the alternate reality games as the meaning of DHARMA, and through some inspirations from fans (watch this found coincidence between The Simpsons and LOST!). However, when the TV series (the central text) ended millions of fans were disappointed because a huge amount of expected answers were not solved. Indeed, a limit must exist in which it would be impossible to continue the franchise, add secondary texts or characters, and understand completely the references and meanings. Where this limit stands should be explored more carefully in the future. 

To sum up, transmedia storytelling is more hierarchical than Jenkins suggests, but also it much more than pure marketing. In Mittell´s words, “LOST is unclassifiable as science fiction, paranormal mystery, or religious allegory, all constructed by an elaborated narrational structure far more complex than anything seen before in America TV” (Mittell, 2006:39). Therefore, we must recognize in LOST (as in Matrix, Star trek and Harry Potter) the attempt not only for expanding a brand in multiple media and in the mouth of everyone, but also the creative success of these challenging narratives, as well as the effort for engaging consumers in the production of information, interpretation and discussions.

So, if you still are looking for the answers of LOST, maybe the next video contains all of them.

 

And, remember that the journey of exploring the narratives and bonding with social communities is always more rewarding than the end.


REFERENCES

 Mittell, Jason. “Narrative Complexity in Contemporary American Television”, in: The Velvet Light Trap 8 (Fall 2006), pp. 29-40.

 Jenkins, Henry.  “Transmedia Storytelling 101”, in: Confessions of an Aca-Fan: The Offical Weblog of Henry Jenkins, March 22, 2007.

Örnebring, Henrik. “Alternate reality gaming and convergence culture: The case of

Alias.” International Journal of Cultural Studies. 10.4 (2007): 445-462.

Smith, Aaron. “Transmedia Storytelling in Television 2.0. A discussable version of Aaron Smith’s thesis for Middlebury College”, Spring 2009