Cross media

Transmedia storytelling (also known as transmedia narrative or multiplatform storytelling) is the technique of telling a single story or story experience across multiple platforms and formats using current digital technologies, not to be confused with traditional cross-platform media franchises, sequels, or adaptations.

Henry Jenkins, author of the seminal book Convergence Culture, warns that this is an emerging subject and different authors have different understandings of it. He warns that the term "transmedia" per se means "across media" and may be applied to superficially similar, but different phenomena. In particular, the concept of "transmedia storytelling" should not to be confused with traditional cross-platform, "transmedia" media franchises, or "media mixes".

From a production standpoint, transmedia storytelling involves creating content that engages an audience using various techniques to permeate their daily lives. In order to achieve this engagement, a transmedia production will develop stories across multiple forms of media in order to deliver unique pieces of content in each channel. Importantly, these pieces of content are not only linked together (overtly or subtly), but are in narrative synchronization with each other. In his latest book,Nuno Bernardo shows TV and film producers how to use transmedia to build an entertainment brand that can conquer global audiences, readers and users in a myriad of platforms.

The origins of the approach to disperse the content across various commodities and media is traced to the Japanese marketing strategy of media mix, originated in early 1960s. Some, however, have traced the roots to Pamela: Or, Virtue Rewarded (1740) written by Samuel Richardson and even suggest that they go back further to the roots of earliest literature.

By the 1970s and 1980s, pioneering artists of telematic art made experiments of collective narrative, mixing the ancestors of today's networks, and produced both visions and critical theories of what became transmedia.
With the advent of mainstream Internet usage in the 1990s, numerous creators began to explore ways to tell stories and entertain audiences using new platforms. Many early examples took the form of what was to become known as alternate reality games (ARG), which took place in real-time with a mass audience. The term ARG was itself coined in 2001 to describe The Beast, a marketing campaign for the film A.I.: Artificial Intelligence. Some early works include, but are not limited to:

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