Books and Videos and Games, Oh My

No longer must a media consumer simply and singularly watch a television show, or read a book, or play a video game. Transmedia storytelling links a single narrative with every platform you can think of. George R.R Martin’s spectacularly popular Game of Thrones , for example, exists as a series of novels (first and foremost), a n HBO TV series, and as Maester’s Path: “a five part multi-sensory experience” online, complete with opportunities to delve more deeply into Martin’s universe.

You see, Game of Thrones is a thick, detailed story. Like life, it is too detailed to satisfyingly represent on a screen for one hour a week. Transmedia storytelling reflects reality, in that it is interactive, has no time limit, and no real boundaries.

Another series of novels, this one geared toward the YA set, engages readers in the plot by asking participants to solve mysteries on the website. Additionally, The Amanda Project involves young readers in the writing process. They can log on to the site, interact, and drive the story. Patrick Corman’s Skeleton Creek, on the other hand, employs several sequential videos meant to blur the lines between fact and fiction, book and film.

The TV show Numbers has an online puzzle for viewers to work through. Covert Affairs, on USA, has a “tweetcast,” in which players can make assists on a critical mission. Starbuck’s multi-media promotion involved QR code, a Lady Gaga clip, a Shazam app, a twitter feed, a twitpick, and, finally, a blog post.

In a more awesome future world, these innovations will somehow lead to my toaster gaining sentience and re-enacting the entirety of “The Brave Little Toaster” as I watch the animation on my PC. My desk lamp can have a supporting role, but I will freak the F out if my A/C unit starts clunking around of its own volition. FYI.

Also, Flannery O’Conner’s Wise Blood would make an awesome interactive docudrama thing.