I’m actually sort of loathe to get into a discussion about what does and does not constitute a “story” but I’m just trying to say that it’s, *generally* speaking, like that of a TV episode, a movie, a novel, etc. with a beginning, middle, and end, even though it may have a plot and subplots etc. There are obviously exceptions like a two-part TV episode, etc.

Additionally, I don’t think I’m advocating limiting the term transmedia to mean the single-story thing. At this point, I guess I’d just be happy if the definition *included* the single-story project (like a typical ARG), which things like the PGA credit does not….under that definition, none of the producers of any projects I worked on at 42, NMM or now at FWS would qualify. It’s seems I’m always trying to point this out, but it gets lost in the kerfuffle….

Anyways, to address your post: As far as ILB is concerned, it was one story. The radio drama piece was directly part of the crash-landed AI piece, as the present day stuff was what facilitated the delivery of the future stuff. Sort of like Marty McFly watching the people fade in the photos. Two time-periods, one story, right? :)

Now for Star Wars. When I saw it in 1977 and walked out of the theater (well, drove out of the drive-in), I felt like I had seen a complete story in the film. It was a movie! With a beginning, middle and end! It’s not hard! But hey, I’m not an academic, so maybe that’s my problem. :)

And….speaking of Star Wars, if it’s being held up as such a paragon of “Transmedia,” and it came out over 30 years ago, doesn’t that kind of prove that this supposed newfangled thing called Transmedia isn’t something new at all? And if it’s not new, then why is a new name being slapped on it?

I’m talking about the new form of storytelling that has been emerging because of the new possibilities of technology over the past decade or so (again, *generally* speaking). The thing that Blair Witch, The Beast, Chasing the Wish, Majestic (yes, Majestic, even), Art of the Heist, The Truth About Marika, I Love Bees etc. found themselves to be. That’s what I’m pursuing. That’s what excites me. Not just a movie that has subsequent sequels and books and toys and video games and lunch boxes and cartoons and plushies and comics and record albums and Christmas specials. That’s nothing new. Brilliant, yes. New, no.

I do agree with you that intent can’t be the deciding factor, either. Yes, it’s too hard to divine, as you need to be able to peer into the creator’s heart. There are many stories whose purpose is to sway opinion or cause action, so using that to separate storytelling from advertising in my previous post turns out not to hold water as much as my second point about generating a relationship with a brand, but hey, that could be said of religion too, so where does that leave us?

And yeah, your point about a story marketing itself would cause the whole thing to implode or eat itself into oblivion like some Ouroboros, so yes, Intent is out. :)

OK, so where does this leave us? I guess when I get down to the foundational quest for me, it’s being able to define the difference between not only franchising versus storytelling as it relates to the terminology, but also between the same old thing being dressed up as something new versus the stuff that actually *is* a new way of doing things.

And I guess I’d append the call on my blog to also include this: The PGA needs to fix its credits requirement. This was promised over a year ago and nothing has happened yet, which is pretty outrageous. And yes, it *is* important to this discussion for all the reasons like funding and insurance and tangible things that folks like Brooke and Evan Jones have pointed out.

So Mike, what’s next? Where do we go from here?

If there is a “single story” requirement, then how do you make each platform/media a complete experience on its own?

Finally, how do you define which is the main story? Is Star Wars the story of Luke Skywalker? Is it the story of Annakin Skywalker? Is it the story of the rise and fall of The Empire?

I think you can argue all of those successfully and make the case for Star Wars as transmedia storytelling whereas you might argue it’s franchising so I’m not sure “single-story” can stand as the dividing line.

“I would love to post my own sentences. I was kind of afraid to jump into a bunch of experts especially with my “English as a second language” ;-) But I will post those I prepared on a Wiki for the TransmediaCamp I just organised in France to show the efforts that are being made and try to avoid the industry/marketing hacking act over the transmedia term (they do it anyway). Then I am like really concerned about how to translate your voices to a European crowd, especially in France.
+ Question : you start with Henry Jenkins, then the fans come with Christy Dena ;-) If you start with Henry, does that mean that you like this one ? Cheers !”