Nele Noppe's List: presentation: manga, franchise, fan culture

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• storytelling across multiple forms of media. By using different media, it attempts to create "entrypoints" through which consumers can become immersed in a story franchise's world.
• Media conglomerates have an economic incentive to increase their audience base; transmedia storytelling is an excellent way for companies to extend this base.
• Transmedia storytelling practices may expand the potential market for a property by creating different points of entry for different audience segments

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• A media franchise is an intellectual property involving the characters, setting, and trademarks of an original work of media (usually a work of fiction), such as a film, a work of literature, a television program, or a video game.
• Media franchises tend to cross over from their original media to other forms

• what is variously called transmedia, multiplatform, or enhanced storytelling represents the future of entertainment.
• By design, Pokemon unfolds across games, television programs, films, and books, with no media privileged over any other.

• These failures account for why sequels and franchises have a bad reputation. Nobody wants to consume a steady diet of second-rate novelizations! 
• Hollywood acts as if it only has to provide more of the same, printing a Star Trek logo on so many widgets. In reality, audiences want the new work to offer new insights into the characters and new experiences of the fictional world.

• In the ideal form of transmedia storytelling, each medium does what it does best
• Each franchise entry needs to be self-contained enough to enable autonomous consumption. That is, you don't need to have seen the film to enjoy the game and vice-versa.
• consumers are choosing to invest deeply in a limited number of franchises rather than dip shallowly into a larger number.
• A good transmedia franchise attracts a wider audience by pitching the content differently in the different media. If each work offers fresh experiences, then a crossover market will expand the potential gross within any individual media.
• For most of human history, it would be taken for granted that a great story would take many different forms, enshrined in stain glass windows or tapestries, told through printed words or sung by bards and poets, or enacted by traveling performers.

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• She identifies Pokémon as a media form that has defined the current framework, laying the groundwork for peer-to-peer communication and creation of media. While the current generation has outgrown Pokémon, the game franchise shaped how global youth think about culture and gaming. It linked analog and digital media, she proposes, by creating an electronic game that later manifested as a collectible card game, manga, anime, toys and other media. It put portability at the center of the media mix, and helped establish Japanese media content as a transnational source of cultural capital
• She sees a generation of kids engaging in a set of cultural practices - cutting, pasting, linking and forwarding in spaces like MySpace
• Individual identity is no longer consumer or producer - there’s a middle ground that includes connoisseur and amateur.
• Networks are no longer mass media or purely personal communication - there are community networks that allow communication about niche interests to a large population
• The work done by the fan community is of impressively high quality and speed - fan substitles are usually distributed to new episodes within 24 hours of their release,
• Media companies aren’t unaware of this obsessive fandom - their release cycles and their localization of content into different languages often reflects producers watching fan behavior.
• The Matrix itself is something of a remix, an American film that borrows heavily from the cliches of Japanese and Chinese action films

• Mimi sees three trends taking place:

   

  - a ping-pong back and forth between US and Japanese culture, informing the mass communication aesthetic

   

  - a mainstreaming of the otaku aesthetic, a fondness for arcane, complex, richly detailed worlds (think of the popularity of the absurdly detailed universe of Harry Potter, for instance)

   

  - remix as a method of localizing and “talking back” to mainstream media.

  • a fondness for arcane, complex, richly detailed worlds -love this line!!
• So here’s a question - does participation in these international joint projects turn into a more generalized form of xenophilia? Do American fans of anime develop a generalized fascination with Japan, which somehow expands from watching Naruto to watching global politics?

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