Faced with what many were calling a dying medium, US network television producers became much more aggressive in seeking out alternative business and artistic models in the beginning of this century. Most significantly, many of these producers turned to the emerging field of transmedia (ancillary texts in comicbooks, novels and new media) as a way to bolster and support television products. In this book, the author examines four such programs (24, Alias, Heroes and Lost) and investigates how transmedia was incorporated into both the work and the art of network television production. Split into two complementary parts, the book first paints a picture of how transmedia producers were, or were not, incorporated into creative decision-making centers of these serialized programs. The second section explains how the presence of off-site transmedia texts begins to alter the very narrative construction of the on-air series themselves. Including interviews with the transmedia workers, this groundbreaking study extends the field of television studies into brand new areas, and brings a 'dying medium' into the 21st Century.Video-game makers, too, rely squarely on the work, performance, and design of previous games to give shape and meaning to their current projects. ... You might have to do a demo of another game thata#39;s like the one you want to make so that they can visualize what you have in mind. Video-game makers, like all producers of consumer culture, ... grafted onto a preexisting concept of a clone of Metal Gear Solid (Konami 1998), generally credited with being the first sneak-and-kill game.
|Publisher||:||Bloomsbury Publishing USA - 2012-12-20|