As far as I can remember, I have always loved movies. When I was a youngster, I used to frequent the local theater at least once a week to watch the latest release. My favorite films were either fantasy or science fiction, not because I have a particular affinity towards either of those genres, but because I loved the rich mythology often embedded in those types of movies. As I got older and began to watch some of cinema’s most acclaimed films, I learned to appreciate cinema in an entirely new way. I learned about story structure and character arc. I learned about cinematography and camerawork. I even learned techniques actors use to perform for the camera. In other words, I started to look at films as technical works of art. Nevertheless, my love for the types of movies I watched as a child never died out, and as a young adult I still seek out films that not only tell exciting stories, but also build new and exciting worlds.

In one of my film classes, I was introduced to the concept of transmedia storytelling. The term, originally coined by MIT professor Henry Jenkins, is used to describe a story that unfolds across different media platforms, with each point of access unique and self-sustaining, to create an expansive mythology. In his book, Convergence Culture: Where Old and New Media Collide, Jenkins discusses The Matrix and all affiliated media as the first true attempt to create a true transmedia narrative. The Wachowski brothers attempted to create a mythology so vast that it could not be contained within the scope of one film, or in this case three. What followed were comic books, an anime, and video games that told stories that the brothers felt were important to tell, but just could not be integrated into the films.

This case study of transmedia storytelling peaked my interest for two reasons. The first was that I love the trilogy. While most remember the films as technological and stylistic achievements with jaw-dropping action sequences, I will remember them for their stories. The huge cast of characters, the backstories, the histories, and the grand ideas the Wachowskis tried to get across were enough to drag me into this world. The second reason, and perhaps the most important one pertaining to what I plan to study, is that Wachowskis were not hindered by the limits of their medium. As any film student will learn, movies need to follow a number of basic rules, and these rules often limit what can be done in a movie logistically. Other mediums however, such as video games and television programs, have their own guidelines and can be perfect for getting across information movies cannot. Understanding this, the Wachowskis carefully planned their mythology around a number of these different mediums to create a cohesive universe.

It is my belief that the transmedia model, or at the very least a variation of this model, is the future of storytelling. More show runners, film makers, and video game developers have either taken the transmedia approach or some elements of transmedia storytelling when developing their stories.

Some of the questions I hope to address are as follows: Since the development of films and television, what has the progression of storytelling been? What is the difference between a serial and a transmedia story? What is convergence culture and media convergence? What would happen to a potential transmedia story dealing with copyright and ownership issues? What is participatory culture? I will take the approach of trying to help my audience understand this phenomenon. My goal, although in its preliminary stages, is to produce a thesis that tracks the development of this model, analyze audience participation trends, and present strong examples of transmedia storytelling in action.