This concept emphasizes the nonlinear nature of narrative content in transmedia. The narrative does not follow a certain sequence of events or fiction. The user is drawn into a discovery process in which he / she can move freely. The fact that it is not linear is due to the fragmented structure of the story and the active role of the user in the storytelling. Robert Pratten describes the nonlinear nature of the transmedia narrative structure by relating it to the difference between a passenger traveling on a seat and a passenger wandering at his will among carriages. While the sitting passenger shares the same experience with everybody else, the wandering passenger completes his journey with different experiences.
Published in Chapter:
Transmedia and the Vagueness of Narrative Structure
Ahmet Oktan (Ondokuz Mayıs University, Turkey)
Copyright: © 2019
|Pages: 23
DOI: 10.4018/978-1-5225-5357-1.ch009
Abstract
This chapter focuses on the types of transformations that transmedia applications cause on the narrative structure of motion pictures and television series. Since different methods are used to construct the story as a transmedia narrative in different films or series, as many works as possible are included in the study to make more accurate determinations. In this context, examples of Star Trek, The Godfather, The Matrix, Star Wars, Harry Potter, The Hunger Games, Shrek, Madagascar, Lost, Game of Thrones, Medcezir, and Vatanım Sensin have been examined in terms of their narrative structure. In these works, the condition of the parts constituting the story universe compared to the main narrative, the elements that enable the construction of new narratives related to the main narrative in different media, fictionalization of the elements such as story lines, characters, spaces, atmosphere, and sound, the methods that are used for the transition among stories, etc. have been examined.