![]() Currently, this is characterized by a cross-media bridge formed in the popular culture of the twentieth century. Seriality in popular culture has its own specific pedigree that has evolved over time. New but recognizable creations can evolve from the pre-existent modular narrative elements of characters -familiar in their appearance, abilities or personality- as they perform and interact with new actions in original spaces and times. The conclusions present how the remix culture applied to interactive narrative design serve as valuable guidelines in the production of transmedia narratives. The goal was to develop and applied an original transmedia model of analysis to study and draw conclusions about how the narrative elements of the actions, characters, spaces and times converge with coherence and intelligibility, and how immersive, interactive linear, emerging and circular elements serve to engage the fans. ![]() The model is applied to Nolan´s transmedia practices in his Batman’s Trilogy to observe and discuss the narrative remixed framework that renew the current DC Universe. The present research introduces a model of analysis to study digital storytelling concepts, narrative elements and media characteristics used for generating transmedia using comics, films, webs, fan videos, and videogames. Later, Henry Jenkins broadened the concept, using “narrative transmedia” first in Media Convergence and more recently in his blog. The term “transmedia” was initially used by Marsha Kinder to refer to the intertextuality among films, animation, TV series and toys for children. This paper collects some core concepts of interactive transmedia storytelling to help to develop the discipline of interactive digital narrative studies and to establish functional models for identifying and analyzing interactive narrative elements in transmedia creations. The conclusions describe the importance of developing a deep research, on the pre-existent cross media narratives designed by previous authors around the Dark Knight, and an original narrative remix in order to create the media narrative convergence, while updating the narrative contents and aesthetics, and while consolidating the interactive linear transmedia narrative that renew the meaning of that universe. The results show the mechanisms of how intertextual coherence is developed by Nolan between narratives across media, all thanks to regenerate logical and detail links between the different characters, actions, times and spaces. The main materials used during this research are composed of 15 media, including videogames, comic-books, movies and toys, all accessed through Christopher Nolan‟s The Dark Knight movie trilogy, investing more than 1000 hours of media lab research. This article connects the main concepts of transmedia narratives developed by interactive digital storytelling researchers such as Kinder, Jenkins, Murray, Mateas, Bruni y Baceviciute… in order to generate an innovative methodology in the analysis of transmedia narratives and to apply it on an extended study of the Batman‟s Universe. Based on a political economy of the media perspective and close readings of the games themselves, I argue that the difference in reception for Batman: Dark Tomorrow and Batman: Arkham Asylum lies in a combination of adaptation approaches and changes in managing media industry convergence. Together, these games demonstrate that efforts to implement transmedia storytelling in relation to Batman have proven challenging due to the IP’s multifranchisality. I then analyze the transmedia elements of Batman: Dark Tomorrow before concluding with an exploration as to why Batman: Arkham Asylum went on to receive a decidedly more enthusiastic response from critics and audiences. After providing an overview of developments in scholarly and management approaches to transmedia storytelling, I examine how the Batman IP represents a complex web of multiple-sometimes intersecting, sometimes isolated-franchises. Both games express how media franchises have turned to paratexts to sustain IP in between film releases, with Batman: Dark Tomorrow debuting before Batman Begins and Batman: Arkham Asylum arriving in between The Dark Knight (2008) and The Dark Knight Rises (2012). While Batman: Dark Tomorrow anchored itself to the comic books, Batman: Arkham Asylum arrived in a different gaming landscape and consolidated elements from across the history of Batman media, including not just the comics but also the film and TV incarnations. ![]() ![]() ![]() In this chapter, I analyze how Batman: Dark Tomorrow reflects changes in tie-in videogame production in the early 2000s and also prefigures the transmedia storytelling framework of the Arkhamverse franchise that began with Batman: Arkham Asylum (2009). ![]()
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