What the Hell is Transmedia, Anyways?
As someone deeply involved in world-building and storytelling, I encounter the term transmedia more often than I’d like. It’s become a buzzword—either heralded as a magic wand for creating IP and engaging audiences or dismissed as an unworkable pipe dream. Yet, its true meaning—and the reasons it often falls short—remain widely misunderstood.
The word gets lumped in with concepts like cross-media adaptations or licensing deals. At a glance, these approaches might seem similar, but they miss the deeper potential of what transmedia can achieve.
Take The Last of Us, for example—a TV series adapted from a game. It shifts some details, deepens emotional beats, and delivers a phenomenal experience. As a fan of the game, I can say the series did a tremendous job. But let’s be clear: it isn’t transmedia. It’s a cross-media adaptation.
Then there’s licensing. This involves monetizing an IP by allowing other companies to create derivative works—action figures, spin-offs, theme park attractions, and so on. Licensing is undeniably profitable and essential for building an IP’s ecosystem. But again, it’s not transmedia storytelling.
So, what is transmedia?
At its core, transmedia storytelling is about crafting narratives that unfold across multiple mediums, with each medium adding something new and unique to the overarching story. Done right, transmedia doesn’t just expand an IP—it deepens its world. It offers audiences new perspectives, enriched lore, and fresh ways to engage with the universe.
But here’s the catch—transmedia isn’t a rigid formula. It’s dynamic, evolving, and needs to adapt to the lifecycle of an IP. Over the years, I’ve developed my own framework for understanding and applying transmedia—a perspective shaped by my experiences in the industry.
To truly grasp how transmedia works—or why it often doesn’t—it’s crucial to look at its origins and how it’s evolved into the misunderstood concept it is today.
A Brief History
The roots of transmedia storytelling can be traced back to Japan’s media mix culture. In the 1960s and ’70s, Japanese companies began creating interconnected worlds that spanned manga, anime, toys, and games. Instead of merely replicating the same story across different formats, these media mix strategies built out the universe, offering unique yet complementary experiences in each medium.
One of the earliest examples was Mobile Suit Gundam, which began as an anime series but quickly expanded into model kits, novels, and video games. Each medium didn’t just retell the story — it added depth to the lore and enriched the audience’s understanding of the universe. This approach wasn’t purely about monetization; it was about creating a loyal, engaged audience by immersing them in a multi-faceted world.
In the West, transmedia storytelling started to gain recognition in the early 2000s, largely thanks to theorists like Henry Jenkins. Jenkins described transmedia as “integral elements of a fiction dispersed systematically across multiple delivery channels.” In other words, transmedia wasn’t just about creating a franchise; it was about building a cohesive ecosystem where every piece of content enriches the whole.
Today, the term transmedia is often misapplied, but its potential remains enormous.
Why Does Transmedia Fail?
If transmedia is such an effective strategy, why haven’t we seen more success stories? Why hasn’t it become the default model for building IPs?
1. Poor Execution
Transmedia storytelling is difficult to pull off. Without a unified creative vision, the different pieces can feel disconnected — or worse, contradictory. Fans notice when tone, lore, or character motivations don’t align between a game, a book, or a series. These inconsistencies can erode trust in the IP and alienate the audience.
2. Oversaturation
Another common pitfall is oversaturating the audience. Some creators try to do too much, too fast, bombarding fans with so many interconnected pieces that keeping up feels like homework. Instead of deepening engagement, this overreach can lead to fatigue and disengagement.
3. Timing Issues
Transmedia requires careful timing and strategy. While it can be a powerful tool for building an audience, it’s crucial to launch the right kind of transmedia content at the right moment. Failing to sustain engagement between major releases can be just as damaging. If an audience is left without any meaningful touchpoints for too long, interest can wane. Transmedia works best when it serves the lifecycle of the IP.
4. The Funnel Effect
One of the most damaging mistakes is turning transmedia into a funnel — where consuming one piece of content becomes a prerequisite for understanding another. This approach can alienate casual fans and shrink your audience instead of expanding it.
Done well, transmedia allows each medium to stand on its own while offering new layers of meaning for those who engage with multiple pieces. This approach respects the audience’s time and preferences while also fostering a deeper connection with the world and its characters.
Fans should feel rewarded — not punished — for their level of engagement, whether they dive in deeply or stick to one medium.
Strategies for Success
So, how do you get it right? Here are three guiding principles:
Start with Story: At the heart of every successful transmedia initiative is a compelling universe — a rich world surrounding a unique core narrative which yields endless possibilities for engaging characters and stories. A well-crafted world invites curiosity, encouraging audiences to explore its layers and discover its secrets. No strategy can save an IP with a weak foundation, but with a robust universe, transmedia becomes a powerful tool to draw audiences deeper into the story.
2. Respect the Medium: Each platform has its own strengths and limitations. A podcast might be perfect for exploring a character’s inner thoughts, while a game can immerse players in the action. Tailor the content to the medium rather than forcing the same story into every format.
3. Think Ecosystem, Not Funnel: Avoid the trap of making one piece of content essential for understanding another. Instead, create standalone experiences that enhance each other. A player should enjoy the game without having seen the series, but fans who engage with both should feel rewarded.
One of the biggest mistakes in transmedia storytelling is treating it as a one-size-fits-all solution — a strategy that can be applied the same way to any IP, at any stage. It isn’t. Transmedia must adapt to the lifecycle of the IP, evolving as the audience and the story world grow.
In its earliest stages, transmedia initiatives might not even resemble conventional products. Instead, they act as narrative extensions — unconventional tools designed to introduce the world, spark curiosity, and build intrigue. These efforts aren’t about making money; they’re about fostering awareness and connection.
As the IP matures, transmedia’s role shifts. Its purpose changes to meet the needs of the audience and the universe it serves, ensuring every initiative remains relevant, impactful, and aligned with the IP’s goals. Here are the three major transmedia phases, and how they pertain to an IPs lifecycle:
The Build
This is where an IP is still trying to find its audience. It can be prior to the tentpole release, during, or shortly after. At this stage, transmedia initiatives function as tools for increasing awareness and building visibility in an oversaturated market. Think of it as content-driven marketing, but with the quality and care of the main product itself.
The goal isn’t to monetize but to amplify. Metrics like virality, reach, and engagement matter far more than revenue at this stage. It’s about fostering an audience-first approach — giving people free, meaningful ways to connect with your IP before they’ve even bought in.
Take, for example, an animated web series, an ARG, or even a lore-driven podcast that deepens the world of your game. These are breadcrumbs, carefully laid to draw people into the main event. This phase is about earning attention, not forcing a franchise.
2. The Expansion
Now your IP has momentum. It’s hit a nerve, gained traction, and maybe even developed a fanbase. This is the stage where transmedia storytelling comes into its own, offering depth and broader perspectives on the world you’ve created.
This is where transmedia initiatives can become products in their own right and the tentpole might even shift at this stager — Marvel is a good example… from comics to film.
But take care not to fall into the funnel effect. If your transmedia ecosystem requires someone to read the book to understand the film, and then watch the film to enjoy the game, you risk alienating large portions of your audience. Well-designed transmedia is additive, not restrictive.
Each medium should stand on its own, offering a unique lens into the IP without becoming a prerequisite for enjoying other pieces. Done right, transmedia at this stage grows the audience while rewarding die-hard fans with new layers of lore and meaning.
3. The Revival
Finally, we arrive at a stage few IPs ever reach — cultural zeitgeist. We’re talking Batman, Harry Potter, or even Assassin’s Creed. At this point, transmedia can do more than expand the story; it can redefine it.
This is where strategic transmedia can breathe new life into an aging franchise. Projects like The Joker or HBO’s The Penguin series are perfect examples of taking an iconic IP and reframing it.
In this phase, transmedia isn’t just about storytelling — it’s about reinvention. It’s about giving a timeless IP new dimensions, ensuring it stays fresh and meaningful for both legacy fans and a new generation.
Transmedia in Cycles
Lastly, sustainable transmedia thrives on cycles. By structuring initiatives in distinct phases, you create natural entry points for new fans while providing a satisfying sense of closure for diehard audiences. Each cycle forms its own transmedia ecosystem, centred around a tentpole product, with a clear beginning, middle, and end.
Timing is everything. Transmedia should bridge gaps between major releases, maintain engagement during quieter periods, or build anticipation ahead of a launch. But once the tentpole product is out, it’s crucial to step back. Let the audience immerse themselves in the main experience without overwhelming them with excessive content.
Future Horizons
As technology evolves, so too will the possibilities for transmedia storytelling. Unified devices — smartphones, tablets — are increasingly acting as seamless portals between different media, changing the way audiences navigate and interact with transmedia ecosystems. This fluidity allows for smoother transitions between mediums, making it easier for audiences to explore a universe on their own terms, without friction or barriers.
The future of transmedia isn’t just about more platforms; it’s about creating deeper, more personal connections. It’s about building worlds that feel alive, inviting audiences to participate, explore, and even co-create within them.
A Living, Breathing Ecosystem
Transmedia is not — and should never be — monolithic. It’s a living, breathing strategy that adapts to the lifecycle of an IP. Whether you’re building an audience, expanding a universe, or reviving a legacy, transmedia offers powerful tools to connect with audiences on a deeper level.
But the golden rule remains: respect the audience. Every piece of transmedia content must offer something meaningful, whether it’s a glimpse into untold stories, a fresh perspective, or a reason to care.
So, the next time you think about transmedia, don’t just think about marketing or licensing. Think about storytelling. Think about creating worlds people want to live in, explore, and return to. After all, isn’t that why we tell stories in the first place?