Transmedia Storytelling In Spiderman

“Transmedia storytelling is a story being told across multiple media. Besides, engagement with each consecutive media enhances the audience’ affection, enjoyment and understanding for the story. In order to accomplish this, the representation of the story in each media has to be satisfying in its own right while enjoyment from all the media should be bigger than the sum of parts” (Pratten, 2011).

In order to explain and fathom transmedia storytelling better, Spider-Man is used as an example. Spider-Man was initially started off by Marvel Comics in American comic books. He is one of the well-known fictional superhero characters. Before moving on to further discuss about transmedia storytelling, it is necessary to know what media convergence

From this statement, he is trying to say that “the level of detail of the world provides a compelling although historically not accurate universe which viewers can believe in, enabling audiences to accept the franchise's crazier and superb moments” (Ritcher, 2016). For instance, Spider-Man is surreal, human beings in the real world do not have superpower to jump or climb from places to places. However, audiences who watch or read Spider-Man, they accept the franchise way which is unreal. Moreover, there is the existence of fandom where the fans will come up with all kind of stories about the superhero that they desire. Although transmedia storytelling has its advantages, there are disadvantages too. “For a film director or a TV producer, making content for other media from video games to comics is, to a certain extent, a disturbing process of transition. Those trained in the traditional formats of production find it difficult to think in “transmedia terms”. For them, transmedia storytelling is often a secondary, non‐strategic activity, and one that is not really productive” (Scolari, 2014).

Superhero games based on Marvel Universe are available which enable the fans to learn and know more about the superhero characters and to connect with the story world. Besides, transmedia allows Fan

Two principles will be discussed in this case. One of the principles is continuity, which he describes as “coherence in a fictional world constituted by several smaller units and occasionally different media platforms” (Jenkins 2009a). Hence, no matter what kind of platform or which title of the same world it is, an occurrence which happens in a section needs to have a result in others. Furthermore, he states that “the same transmedia universe restricts that everything must be in a way that agrees with one another so as to improve audience engagement. Additionally, another principle is “multiplicity’. He says that it a word for fan fiction, a genre that he has an interest with, hence he considers to be a piece of what he calls “participatory culture” (Jenkins 2006a: 3). He contends that numerous transmedia stories leave enough space for fans to develop their own parts of the story, which may not be a piece of the official standard (Jenkins 2009a). Fan fiction does not certainly rebut the standard storyline, but rather supplements it, leaving the coherence whole. Jenkins has been so devoted to these grassroots activities that he has even distributed a thorough book on this point” (Jenkins