This research investigates the impact of transmedia storytelling through a case study of Arcane, a Netflix TV show set in the League of Legends universe. Grounded in the combination of transmedia storytelling theory, audience engagement theory and reception theory, we utilised semi-structured interviews to probe and understand viewer perceptions. Participants, composed of Arcane viewers who have played the League of Legends game and those who have not, provided wide-ranging insights. Findings reveal that not only previous experiences with the League of Legends universe affected participants’ engagement and reception of Arcane, but also that Arcane enriched the audience's perception of the League of Legends. This enhancement stemmed from the show's in-depth storytelling and character development, amplifying viewer understanding and emotional connection. These results highlight transmedia storytelling's potential to shape audience perceptions, offering vital cues for gaming and television content creators.

Submitted by Clebson Anjos (clebson.leandro54@gmail.com) on 2016-02-18T18:48:28Z No. of bitstreams: 1 arquivototal.pdf: 1955056 bytes, checksum: ca71a26ef1d4ad08c01da2228209f23c (MD5) / Made available in DSpace on 2016-02-18T18:48:28Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1955056 bytes, checksum: ca71a26ef1d4ad08c01da2228209f23c (MD5) Previous issue date: 2015-07-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Technological advances and media convergence linked to public response have introduced a reconfiguration scenario of media. Within this system, television has undergone transformations that had as a lynch pin news ways of content consumption. New processes emerge as the Transmedia Storytelling (TS), which is the combination of different mediums to unfold a story. This paper analyzes how the newscast on public TV - here represented by the newscasts Repórter Brasil Noite (TV Brasil/BRA) and Jornal Antares (TV Antares/PI) - has seized the resources available through technological convergence, especially of the TS principles (Henry Jenkins, 2009), as a strategy for strengthening the collaborative journalism and public engagement. Our methodology consisted of an exploratory research, with the case studies procedures, simple observation techniques and in-depth interview. As we set out to work with a theme that is still an open debate arena among scholars - the application of TS principles in journalism - we chose the studies of Kevin Moloney (2009), Carlos Alberto Scolari (2013) and Mauricio Souza (2009) as bearing point of our research. We work with both newscast programs with two different times cutouts: the period of the election campaign and the carnival. We note that the treatment of principles (TS) still occurs on a limited manner and there is a lack of integration within the program's official channels. We believe in the principles experimentation, as a strategy to strengthen the development of collaborative journalism, characteristic of public broadcasters. / Os avanços tecnológicos e a convergência midiática aliados ao comportamento do público introduziram um cenário de reconfiguração das mídias. Dentro desse sistema, a televisão tem passado por transformações incididas pelas novas formas de consumo de conteúdos. Novos processos produtivos emergem, como a Narrativa Transmídia (NT), sendo esta a combinação de diferentes plataformas na apresentação de uma história. Esse trabalho analisa o modo como o telejornalismo público, representado aqui pelos telejornais Repórter Brasil Noite (TV Brasil/BRA) e Jornal Antares (TV Antares/PI), tem se apropriado dos recursos disponíveis com a convergência tecnológica, especialmente os princípios da NT de Henry Jenkins (2009) como estratégia para o fortalecimento do jornalismo colaborativo e do engajamento do público. A nossa metodologia consistiu numa pesquisa exploratória, tendo como procedimento o estudo de caso e as técnicas da observação simples e da entrevista em profundidade. Como nos propusemos a trabalhar com uma temática que ainda é local de disputa entre estudiosos, a aplicação dos princípios da NT no jornalismo, elegemos os estudos de Kevin Moloney (2009), Carlos Alberto Scolari (2013) e Maurício Souza (2009) como norteadores da nossa pesquisa. Trabalhamos com os dois telejornais e dois recortes temporais diferentes: o período da campanha eleitoral e o carnaval. Observamos que a exploração dos princípios ainda ocorre de forma limitada e falta integração entre os canais oficiais dos programas. Acreditamos que a experimentação dos princípios como estratégia pode fortalecer o desenvolvimento do jornalismo colaborativo, próprio das emissoras públicas.

This case study research examines the impact of transmedia storytelling on the global reach of Korean-pop (K-pop) group BTS (Bangtan sonyeondan) and how narratives within the transmedia storyworld can motivate the audience to seek individual and social change. This study is inspired by the rise of BTS in the global music industry. The group came with a solid brand image, highlighting sincerity and authenticity that captivate audiences worldwide. BTS consistent messages—that intersect with sustainability issues—about the importance of loving oneself, equality, social justice, anxiety, and wellbeing are communicated through multiple platforms and travel across language and cultural barriers. To understand the context, this study uses the concepts of transmedia storytelling and audience engagement by Jenkins (2006, 2007, 2012, 2014), Gambarato (2019), Broesma (2019), and Askwith (2007), to name a few. The method used to conduct this research is the analytical and operational model of transmedia design by Gambarato et al. (2020). The findings are that transmedia storytelling —with spreadability, drillability, extractability, and immersion characteristics—is an effective communication strategy that significantly influences the global reach of the group. Further, the camaraderie between BTS and ARMY generates fan activism—an epitome of individual change due to the fondness to BTS, as the act of identification and the attitude of giving back to the intimacy that BTS members provide to the fandom.

El ecosistema mediático moderno opta actualmente por una nueva forma de contar historias: la narrativa transmedia. Habiendo dicho esto, es la intención de este proyecto de investigación elaborar un análisis sobre la naturaleza de las obras transmediales y los posibles tipos de relaciones que estas pueden generar entre el creador y el consumidor, de manera que los nuevos comunicadores conozcan las herramientas alternativas que están actualmente a su disposición para contar historias. Para conseguirlo, esta investigación utiliza a la franquicia Star Wars y un club de fans, The Force Perú, como sujetos de estudio y se propone a lograr el objetivo principal de examinar una de las estrategias que utiliza el club de fans The Force Perú para generar contenido transmedial en base a Star Wars. Por otro lado, este proyecto de investigación también se propone a lograr el subobjetivo de describir los nuevos contenidos desarrollados por The Force en base a Star Wars a través de su podcast “La mesa de Greedo” y el subobjetivo de analizar la organización de los creadores de contenido del podcast del club de fans The Force Perú. En cuanto a la metodología que se planea implementar en este proyecto, esta se ceñirá a un paradigma interpretativo o cualitativo y tendrá un enfoque etnográfico. De esta manera, las técnicas de recolección de datos serán entrevistas semiestructuradas y no estructuradas. / The modern media ecosystem is currently opting for a new form of storytelling: transmedia narrative. Having said that, it is the intention of this research project to prepare an analysis on the behaviour of transmedia works and the possible types of relationships that these can generate between the creator and the consumer, so that new communicators get to know the alternative tools for storytelling that are currently at their disposal. To achieve this, this research uses the Star Wars franchise and a fan club, The Force Peru, as study subjects and aims to achieve the main objective of examining one of the strategies that the Force Peru fan club uses to generate transmedia content based on Star Wars. On the other hand, this research project also aims to describe the new content developed by The Force based on Star Wars through its podcast La mesa de Greedo and to analyse the organization of podcast content creators from The Force Peru fan club. As for the methodological design that will be implemented within this project, it will follow an interpretive or qualitative paradigm and will have an ethnographic focus. Thus, the data collection techniques will be semi-structured and unstructured interviews. / Trabajo de investigación

A tese Esse jogo daria um ótimo livro defende que as novas formas de narrar, em especial as que buscam ser ou são transmidiáticas, estão constituindo novas práticas sociais de leitura que visam enredar o leitor em um processo contínuo e controlado de consumo tornando-o fiel a uma marca ou produto. Contudo, nesse processo, os próprios leitores encontram brechas para se movimentarem de forma crítica, assumindo um lugar ativo e engajado (JENKINS; FORD; GREEN, 2014), acessando conteúdo em diferentes mídias, discutindo com seus pares para a compreensão do todo e produzindo novos conteúdos a partir disso. Para exemplificar tal hipótese, tomamos por dado os games e suas ramificações aqui chamadas de literatura gamer um estilo de publicação recente no Brasil que tem por público-alvo os jovens buscando compreender o funcionamento da narrativa transmidiática nestes materiais, assim como o papel ocupado por eles em nossa sociedade e as exigências que ele demanda de seu público-leitor. Após um levantamento inicial de todas as publicações do mercado e a criação de três categorias de análise, quais sejam, Relação com a mídia inicial, Interatividade e Expansão, selecionamos o corpus composto pelos games Assassins creed, Resident Evil e Starcraft, bem como por sua literatura e produções de fãs. A partir disso, com base no conceito de transmídia de Jenkins (2009) e de Ryan (2013), de cenografia e ethos de Maingueneau (2004; 2014) e, de inteligência coletiva de Lévy (2003; 2010) analisamos o corpus e levantamos os seguintes perfis de leitores: o leitor que vê os objetos transmidiáticos sempre em relação ao game, estabelecendo comparações que visam à busca das inconsistências; o leitor que vê os objetos transmidiáticos como um acréscimo aos games, e que busca os pares para compreender o todo; e, o leitor que vê os objetos transmidiáticos como integrantes de um mesmo universo e que se satisfaz na busca dos pontos de interconexão e na expansão do universo operada por ele mesmo, um autor-leitor-jogador. Os três perfis expõem como gradativamente a narrativa transmidiática vem estabelecendo novas práticas sociais de leitura que, para além da leitura dos objetos, um processo participativo sem dúvida, exige do autor-leitor-jogador que busque mais, que acesse outras mídias e que saiba lê-las, que discuta com outros seus interesses e descobertas, para formar um todo narrativo completo e que por fim, ressignifique essa experiência narrativa em produções próprias. / The thesis This game would make a great book argues that the new ways of narrating, especially those who seek to be or are transmedia, are building new social reading practices intended to ensnare the reader in a continuous and controlled process in which he becomes faithful to a brand or a product. However, in the process the readers find loopholes to move critically, assuming an active and engaged place (JENKINS; FORD; GREEN, 2014), accessing content in different media, discussing with their peers to understand the whole narrative and producing new content from that. To illustrate this hypothesis, we analize games and its ramifications here called gamer literature a recent style of publication in Brazil whose target audience is the young reader seeking to understand the transmedia storytelling in these materials, as well as the role played by them in our society and the requirements that it demands of its readership. After an initial survey of all the publications available in the brazilian market, we have created three analysis categories, which are, Relation to the inicial media, Interactivity and Expansion, and we selected the corpus: the games Assassins creed, Resident Evil and Starcraft, as well as its literature and productions of fans. From this, based on Jenkins (2009) and Ryans (2013) concept of transmedia, Maingueneaus (2004; 2014) concepts of ethos and scenography, and Lévys (2003; 2010) concept of colective intelligence we analyzed the corpus and raised the following reader profiles: the reader who sees the transmedia objects attached to the game, making comparisons to find the inconsistencies of the narrative; the reader who sees the transmedia objects as an addition to the games, and seek their peers to understand the whole narrative; and the reader who sees the transmedia objects as parts of the same universe and that finds satisfaction in searching the interconection points between the objects and in contributing to expand the narrative universe, ultimately an author-reader-player. The three profiles expose how gradually the transmedia storytelling is setting new social reading practices which, in addition to the reading process, an undoubtedly participatory process, requires the author-reader-player to seek for more, to access different medias and know how to read them, to discuss with his peers his interests and discoveries, all of that to form a complete narrative and finally reframe this narrative experience in his own productions.

A tese Esse jogo daria um ótimo livro defende que as novas formas de narrar, em especial as que buscam ser ou são transmidiáticas, estão constituindo novas práticas sociais de leitura que visam enredar o leitor em um processo contínuo e controlado de consumo tornando-o fiel a uma marca ou produto. Contudo, nesse processo, os próprios leitores encontram brechas para se movimentarem de forma crítica, assumindo um lugar ativo e engajado (JENKINS; FORD; GREEN, 2014), acessando conteúdo em diferentes mídias, discutindo com seus pares para a compreensão do todo e produzindo novos conteúdos a partir disso. Para exemplificar tal hipótese, tomamos por dado os games e suas ramificações aqui chamadas de literatura gamer um estilo de publicação recente no Brasil que tem por público-alvo os jovens buscando compreender o funcionamento da narrativa transmidiática nestes materiais, assim como o papel ocupado por eles em nossa sociedade e as exigências que ele demanda de seu público-leitor. Após um levantamento inicial de todas as publicações do mercado e a criação de três categorias de análise, quais sejam, Relação com a mídia inicial, Interatividade e Expansão, selecionamos o corpus composto pelos games Assassins creed, Resident Evil e Starcraft, bem como por sua literatura e produções de fãs. A partir disso, com base no conceito de transmídia de Jenkins (2009) e de Ryan (2013), de cenografia e ethos de Maingueneau (2004; 2014) e, de inteligência coletiva de Lévy (2003; 2010) analisamos o corpus e levantamos os seguintes perfis de leitores: o leitor que vê os objetos transmidiáticos sempre em relação ao game, estabelecendo comparações que visam à busca das inconsistências; o leitor que vê os objetos transmidiáticos como um acréscimo aos games, e que busca os pares para compreender o todo; e, o leitor que vê os objetos transmidiáticos como integrantes de um mesmo universo e que se satisfaz na busca dos pontos de interconexão e na expansão do universo operada por ele mesmo, um autor-leitor-jogador. Os três perfis expõem como gradativamente a narrativa transmidiática vem estabelecendo novas práticas sociais de leitura que, para além da leitura dos objetos, um processo participativo sem dúvida, exige do autor-leitor-jogador que busque mais, que acesse outras mídias e que saiba lê-las, que discuta com outros seus interesses e descobertas, para formar um todo narrativo completo e que por fim, ressignifique essa experiência narrativa em produções próprias. / The thesis This game would make a great book argues that the new ways of narrating, especially those who seek to be or are transmedia, are building new social reading practices intended to ensnare the reader in a continuous and controlled process in which he becomes faithful to a brand or a product. However, in the process the readers find loopholes to move critically, assuming an active and engaged place (JENKINS; FORD; GREEN, 2014), accessing content in different media, discussing with their peers to understand the whole narrative and producing new content from that. To illustrate this hypothesis, we analize games and its ramifications here called gamer literature a recent style of publication in Brazil whose target audience is the young reader seeking to understand the transmedia storytelling in these materials, as well as the role played by them in our society and the requirements that it demands of its readership. After an initial survey of all the publications available in the brazilian market, we have created three analysis categories, which are, Relation to the inicial media, Interactivity and Expansion, and we selected the corpus: the games Assassins creed, Resident Evil and Starcraft, as well as its literature and productions of fans. From this, based on Jenkins (2009) and Ryans (2013) concept of transmedia, Maingueneaus (2004; 2014) concepts of ethos and scenography, and Lévys (2003; 2010) concept of colective intelligence we analyzed the corpus and raised the following reader profiles: the reader who sees the transmedia objects attached to the game, making comparisons to find the inconsistencies of the narrative; the reader who sees the transmedia objects as an addition to the games, and seek their peers to understand the whole narrative; and the reader who sees the transmedia objects as parts of the same universe and that finds satisfaction in searching the interconection points between the objects and in contributing to expand the narrative universe, ultimately an author-reader-player. The three profiles expose how gradually the transmedia storytelling is setting new social reading practices which, in addition to the reading process, an undoubtedly participatory process, requires the author-reader-player to seek for more, to access different medias and know how to read them, to discuss with his peers his interests and discoveries, all of that to form a complete narrative and finally reframe this narrative experience in his own productions.

Alternate reality games (ARG) are a relatively new type of game that distributes game content across several media without explicitly identifying that content as part of a game. While players benefit from this aesthetically immersive experience the type of game has the potential to cause confusion over the status of its dispersed content as real or as part of a game. This thesis offers a case study of the 2012 game. The case is contextualized within the disciplines of media studies and games studies, in a wider digital culture where the ubiquity of technology converges to user experience design. A theoretical framework based on Charles S. Peirce’s semiotic, supplemented by Erving Goffman’s frame analysis and James J. Liszka’s transvaluation theory is used to explain the ARG’s problematic relation to the experience of reality.

Alternate reality games (ARG) are a relatively new type of game that distributes game content across several media without explicitly identifying that content as part of a game. While players benefit from this aesthetically immersive experience the type of game has the potential to cause confusion over the status of its dispersed content as real or as part of a game. This thesis offers a case study of the 2012 game. The case is contextualized within the disciplines of media studies and games studies, in a wider digital culture where the ubiquity of technology converges to user experience design. A theoretical framework based on Charles S. Peirce’s semiotic, supplemented by Erving Goffman’s frame analysis and James J. Liszka’s transvaluation theory is used to explain the ARG’s problematic relation to the experience of reality.

Alternate reality games (ARG) are a relatively new type of game that distributes game content across several media without explicitly identifying that content as part of a game. While players benefit from this aesthetically immersive experience the type of game has the potential to cause confusion over the status of its dispersed content as real or as part of a game. This thesis offers a case study of the 2012 game. The case is contextualized within the disciplines of media studies and games studies, in a wider digital culture where the ubiquity of technology converges to user experience design. A theoretical framework based on Charles S. Peirce’s semiotic, supplemented by Erving Goffman’s frame analysis and James J. Liszka’s transvaluation theory is used to explain the ARG’s problematic relation to the experience of reality.

A pesquisa aborda a representação do jornalismo na ficção de Harry Potter transmídia – sua função social e seu ethos profissional. A partir da análise de conteúdo, avaliamos os sete livros, os oito filmes e o site Pottermore que fazem parte da franquia, explorando a capacidade narrativa de cada plataforma. Definimos a série como narrativa transmídia com base em Jenkins (2009a) e, a partir de uma visão geral do enredo de Rowling, acionamos os conceitos de função social e ethos profissional que permeiam o jornalismo para pensar a representação da profissão na franquia. Mapeamos onze funções sociais da profissão no enredo de Rowling – informar; contextualizar, interpretar e explicar a realidade; motivar debate público; vigiar os poderes; orientar sobre como viver no mundo; organizar o tempo do leitor (ouvinte, espectador) na vida cotidiana; formar um presente social de referência; manter a sociedade unida; instruir e educar os leitores (ouvinte, espectador); conferir valor para pessoas, objetos e instituições; proporcionar entretenimento. Observamos também como se constrói o ethos profissional, identificando quatro perfis de jornalistas criados na história de Harry Potter – o inescrupuloso, o idealista, o profissional e o chapa-branca. As funções sociais ocupadas pela profissão variam de acordo com seu contexto na história e o ethos que cada jornalista incorpora determina como elas serão cumpridas e se serão cumpridas. As posições dos veículos e dos jornalistas se alteram com o desenrolar da história, registrando as mudanças sociais e se tornando parte delas. / This research addresses the representation of journalism in the transmedia fiction of Harry Potter - its social function and its professional ethos. Using content analysis, we evaluate the seven books, the eight films and the Pottermore site that compose the franchise, exploring the narrative capability of each platform. We define the series as a transmedia narrative as established by Jenkins (2009a) and, from an overview of Rowling's plot, applied the concepts of social function and professional ethos that permeate journalism to reflect about the representation of the profession in the franchise. We mapped eleven social functions of the profession in Rowling's story - report; contextualize, interpret and explain the reality; encourage public debate; watch the other powers; instruct people on how to live in the world; organize the reader's (listener, viewer) time in everyday life; form a social present of reference; keep society together; instruct and educate readers (listeners, spectator); lend credibility and prestige to people, objects and institutions; offer entertainment. We also observed how the professional ethos is built, mapping four journalist profiles created in the Harry Potter story – the unscrupulous, the idealist, the professional and the subdued to the government. The social functions fulfilled by journalism in the story vary according to its context in the narrative and the ethos that each journalist incorporates determines how this functions will be fulfilled and if they will be fulfilled. The positions of the vehicles and journalists change in the course of story, registering the social changes and becoming a part of them.