ENTERTAINMENT MARKETING STRATEGY:
TRANSMEDIA STORYTELLING
Marvel and the Reinvention of the Entertainment Franchise
By
Vincent Pellizzi
Global Business Honors Program
Gabelli School of Business
Fordham University
Advisor: Dr. Bozena Mierzejewska
April 15, 2015
TRANSMEDIA STORYTELLING
TABLE OF CONTENTS
i.
Introduction
ii. Research Questions
1. Literature Review
1.1. Definition of Transmedia Storytelling
1.2. Components and Attributes of Transmedia Storytelling
1.3. Examples of Transmedia Storytelling
2. Framework Definition
2.1. Framework Dimensions Overview
2.2. Framework Dimensions Breakdown
2.3. Framework Limitations
3. Case Study: Marvel Cinematic Universe
3.1. Company History
3.2. Marvel Cinematic Universe
3.2.1. Marvel Cinematic Universe History
3.2.2. Marvel Cinematic Universe Structure
3.2.3. Framework Application
iii. Conclusion
iv. Reference List
Pellizzi 2
TRANSMEDIA STORYTELLING
Pellizzi 3
i. Introduction
Moviegoers may have been caught by surprise when Samuel L Jackson appeared in a post-credits
tag in 2008’s Iron Man. The veteran actor’s first portrayal of Nick Fury would serve as the first step in
establishing the $7 billion “Marvel Cinematic Universe”, where each new piece of content enters into a
dialogue with one another, telling one large story across several different levels and platforms. In an
industry increasingly overwhelmed by sequelization and franchise creation, how has Marvel set itself
apart and achieved such consistent success over the past 7 years? The answer lies in a marketing strategy
that has risen to prominence in the 21st century: transmedia storytelling, a content positioning strategy that
aims to connect with consumers across multiple mediums, building a shared narrative that reaches beyond
the long-standing practice of brand extension and instead encourages audiences into more widespread,
multiplatform consumption and participation with a company’s offerings.
ii. Research Questions
1) What factors establish transmedia storytelling as a viable and distinct media marketing strategy?
2) What creative and logistical resources are integral to the successful implementation of a transmedia
story environment and strategy?
3) Can an ideal framework for creative strategic development of a transmedia story be established, and
what elements might it contain?
TRANSMEDIA STORYTELLING
Pellizzi 4
PART I: LITERATURE REVIEW
1.1. Definition of Transmedia Storytelling
At its core, transmedia storytelling refers to the technique of telling a single story or story
experience across multiple platforms, formats, and mediums. It involves leveraging the unique attributes
of various mediums to deliver content uniquely tailored to each medium that supports related content.
Transmedia content ideally serves as “a distinctive and valuable contribution to the whole”, with the
choice of medium having some role in shaping each piece’s use (Jenkins). From a profit-driven
standpoint, it is indicative of “the economics of media consolidation”, or “synergy” (Jenkins). As modern
media companies have become horizontally integrated, “hold[ing] interests across a range of […] distinct
media industries,” giving companies “incentive to spread its brand or expand its franchises across as
many different media platforms as possible” (Jenkins).
Example of synergistic consumption effects of a transmedia franchise model1
1
Image provided by "Types of Transmedia” – Transmedia Storyteller. Retrieved from
http://www.tstoryteller.com/transmedia-storytelling/types-of-transmedia
TRANSMEDIA STORYTELLING
Pellizzi 5
1.2. Components and Attributes of Transmedia Storytelling
Transmedia storytelling relies on the production of multimedia contents that have synergistic
effects on one another and form an ultimately more desirable and marketable whole media product.
Consuming content across different platforms bearing the same brand name creates isolated experiences,
not imbuing the attempt at cross-promotion with tangible impact. In transmedia, each piece of content
integrates with one another to substantially add to the complete story experience, furthering engagement
across all platforms. For example, a book based on a movie could serve as backstory that explains the
events taking place off-screen. Integrating each new piece of content creates inherent promotional value
that sustains “a depth of experience that motivates more consumption” (Jenkins).
Henry Jenkins, Professor of Communication, Journalism, and Cinematic Arts at the University of
Southern California, developed seven principles that he proposes as integral to developing a successful
transmedia storytelling strategy.
Henry Jenkins’ 7 Principles of Transmedia
Principle
Spreadability vs Drillability
Continuity vs Multiplicity
Immersion vs Extractability
Worldbuilding
Seriality
Subjectivity
Performance
Concept
Generate wide spread of content while maintaining
quality of “additive comprehension” in narrative
construction
Balance continuity of content across mediums with
unique value for each piece of content dependent
on medium and audience
Draw upon consumers’ perceived relationship with
narrative experiences and life experiences
Generate “encyclopedic impulse” among audience
to delve further into created world
Develop some sense of order to components to
create through-line of narrative experience
Utilize opportunity of different perspectives for
each piece of content or platform and further
diversify narrative
Leverage attractor quality of transmedia narrative
while activating consumer participation
TRANSMEDIA STORYTELLING
Pellizzi 6
Stanford University Professor Lenna Garibian interpreted the results of a study conducted by
research firm Latitude as indicative of the desire for immerse experiences in media consumption.
Garibian puts forth four recommendations as intrinsic elements of transmedia: 2
Recommendation
Description
Immersion
Delving deeper into the story via supplementary
context and sensory experiences
Allowing consumers to become part of the
narrative, and possibly influence the outcome
Having a seamless connection among all platforms
Interactivity
Integration
Inspiring consumers to take action of some kind
(e.g., purchase a product, sign up for a service,
support a cause, etc.)
Impact
1.4. Examples of Transmedia Storytelling
Henry Jenkins cites The Matrix franchise as a major transmedia property in that “key bits of
information are conveyed through three live action films, a series of animated shorts, two collections of
comic book stories, and several video games”. The Star Wars franchise has progressively and laid out a
transmedia story over the course of its nearly forty-year existence. With its dual film trilogies serving as
the “primary” or “master” text, the franchise has expanded into novels, comic books, and animated series;
the animated series Star Wars Rebels fill in the gaps between films. Conversely, Star Wars brand
extensions such as toy lines, apparel, and video games do not necessarily represent additional arms of a
transmedia narrative rather than simply serving as exercises in branding.
3
TRANSMEDIA STORYTELLING
Pellizzi 7
PART II: FRAMEWORK DEFINITION
Based upon the academia discussed in the literature review, the following model is proposed as a
framework for transmedia storytelling development. The framework consists of eight dimensions that
define creative and logistical components that seem integral to developing a transmedia strategy.
2.1. Framework Dimensions Overview
Component
1)
Structure and coordinate
creative talent
2)
Leverage subjectivity
potential of medium
3)
Distinguish worldbuilding
from multiplicity
Define a “primary text” to
4) establish a content
hierarchy
5)
Balance long-term vision
with flexibility
Leverage horizontal
6) integration to streamline
creative control
7)
Cultivate “encyclopedic
ambition” within audience
Employ “additive
8) comprehension” to
incentivize participation
Description
Crucial to the execution of a transmedia story strategy is a leadership
structure that creatively defines and supports the story and its
direction across mediums.
Content developed for different mediums can create value in
leveraging the nature or features of the medium to offer a distinct
perspective and diversify the overall narrative.
Transmedia producers have an opportunity to imbue content with
either the depth to flesh out a larger world or depict an individually
compelling product that presents an alternative, fresh perspective.
Establishing a “primary text” in a transmedia narrative allows
creators to centralize story progression, providing audiences with a
clear and sustained manner to follow the story and coerce them to
progressively branch out to other content types.
Balancing clear goals and vision for a transmedia project while
maintaining the flexibility to modify plans based on progressive
findings and intermediary results can be helpful in securing the longterm sustainability of the project.
Centralized control and authority over the different means of
production for each piece of content can provide creators with a more
accurate degree of control over content design and execution.
The potential for future or companion content to fill in gaps or
excesses introduced within one another can in itself serve as a
marketing tool for future installments in the transmedia narrative.
Content can compel audiences to seek out new content in such a way
that adds to their understanding of the transmedia property’s larger
narrative or world.
2.2. Framework Dimensions
1) Structure and coordinate creative talent
Henry Jenkins notes the importance of strong central leadership or governance that he finds “either in
independent projects where the same artist shapes the story across all of the media involved or in projects
3
Image provided by Leone, Reena. (2010). “What I Learned at Comic Con 2010: Transmedia is Everywhere”.
Digitaria. Retrieved from https://www.digitaria.com/news/blogs/what-i-learned-comic-con-2010-transmediaeverywhere
TRANSMEDIA STORYTELLING
Pellizzi 8
where strong collaboration is encouraged across the different divisions of the same company”.
Entertainment media production requires creative talent ranging from directors to media technicians to
actors; acquiring and managing talent in a synergistic fashion that supports and facilitates execution.
2) Leverage subjectivity potential of medium
The nature of transmedia means that content offered in different mediums can offer new perspectives
on a larger narrative. Jenkins defines subjectivity as “looking at the same events from multiple points of
view”. A Star Wars comic book might tell an expanded story about what a supporting character from one
of the films had done while off-screen during the movie. Content suited for different mediums “may
expand the potential market for a property by creating different points of entry for different audience
segments” (Jenkins). Content in properties that primarily cater to men can seek to focus on a female
character.
3) Distinguish worldbuilding from multiplicity
Given the prevalence of franchise-driven entertainment, not all produced content may serve as a part
of the intended transmedia narrative; new content can be produced with “worldbuilding” for the larger
story in mind or as an individual offering that exists as an alternative perspective but that does not
necessarily lie within the transmedia story. Henry Jenkins suggests that “if [users] develop ways of
mapping worlds as integrated systems, [users] can push […] towards a fuller, richer understanding” of the
world in which the narrative operates. Jenkins refers to the concept of multiplicity as allowing “fans to
take pleasure in alternative retellings, seeing the characters and events from fresh perspectives”.
4) Define a “primary text” to establish a content hierarchy
In developing a transmedia story, creators often employ a “master” or “primary text” as a central
guiding force of a transmedia narrative, giving audiences a central touchpoint to understand story
progression. Supplemental or secondary content delivered through other mediums, while still
contributing substantial value to the narrative, can be sought out by users wishing to enrich their
knowledge of the narrative beyond what is offered in the primary text. For example, the Star Wars film
TRANSMEDIA STORYTELLING
Pellizzi 9
series is the primary means through which the largest possible audience experiences the story; those who
wish to learn more might seek out additional material in the form of novels or video games.
5) Balance vision with flexibility
It is important to be able to adapt plans for a transmedia narrative creatively in order to meet financial
expectations. The Star Wars franchise, for example, faced a minor problem after The Walt Disney
Company had purchased Lucasfilm and planned new movies in the series. Star Wars had an elaborate
“Expanded Universe” comprised of additional non-film media, including novels, comic books, and
animated series, arranged in a highly specific timeline; Disney’s decision to make new films could
directly contradicted many of the Expanded Universe novels. Staff worked on a revised timeline,
specifying which texts were still canon while removing those works that would no longer fit with the
story the new films would tell, creating a revised vision for the series while not entirely ignoring its
transmedia history helped to satisfy longtime fans.
6) Leverage horizontal integration to streamline creative control
Licensing rights to other companies to adapt properties into different mediums is nothing new—
Marvel Comics published Star Wars comic books to accompany the original films in the 1980s. This
diversified method of creation can cause issues— for example, IDW Comics’ comic book adaptation of
Transformers: Revenge of the Fallen, was based on earlier version of the screenplay, and substantially
differs from the finished film. It was also released weeks prior to the film, thus spoiling the events of the
movie. The consolidation of media and entertainment companies provides leadership with greater
creative authority over the execution of transmedia properties. Now both owned by Disney, Marvel once
again publishes Star Wars comics, but with a greater degree of synergy and collaboration.
7) Cultivate mindset of encyclopedic ambition among audience
The nature of transmedia texts often “results in what might be seen as gaps or excesses in the
unfolding of the story: that is, they introduce potential plots which can not be fully told or extra details
which hint at more than can be revealed” (Jenkins). Introducing threads for new plots, such as including a
post-credits scene in a movie, can provide audiences with a “strong incentive to continue to elaborate on
TRANSMEDIA STORYTELLING
Pellizzi 10
these story elements, working them over through their speculations, until they take on a life of their own”
(Jenkins). This speculation can serve as a marketing tool, motivating consumers to spread awareness as
they seek or speculate as to what future content pieces might hold. This connectivity builds brand value
and innovates on the typical franchise model of simply releasing direct sequels to a popular film.
8) Employ “additive comprehension” to incentivize audience participation
Game designer Neil Young describes “additive comprehension,” as the way in which each new piece
of content “adds a new piece of information which forces us to revise our understanding of the fiction as a
whole”. Audiences can expand their comprehension of the world by continuing to attain all of the
information offered by different mediums and content forms, which “make sense to first time viewers and
building in elements which enhance the experience of people reading across multiple media” (Jenkins).
In this way, the transmedia model presents a sound basis for cross promotion and awareness
maximization.
2.3. Framework Limitations
This framework mainly concerns the creative strategy development of a transmedia storytelling
project rather than specific implementation; as stories developed by different sources will vary in strategic
composition and scale, creators will design transmedia stories in ways best suited to the narrative.
Therefore, factors that inevitably vary based on specific situations do not apply to the model, including:
1) Choice of or structure of mediums in construction of the transmedia narrative
2) Demographics of target audience of transmedia products
3) Scale, scope, and number of content pieces that comprise the narrative
4) Composition of style or genre of transmedia content
5) Financial logistics of transmedia development and execution
TRANSMEDIA STORYTELLING
Pellizzi 11
PART III: CASE STUDY
The goal of this case study is to, following an overview of Marvel’s history as an organization
and a detailed presentation of its transmedia “cinematic universe”, apply the theoretical framework, and
evaluate the MCU’s viability and success as a creative strategy.
3.1. Marvel Company History
Marvel Comics’ origins date back to 1939, when publisher Martin Goodman founded Timely
Publications in New York City. In 1986, Marvel Entertainment Group was incorporated (MEG) as part
of a sale to New World Entertainment, and was then again sold to MacAndrews and Forbes in 1989 for
$82.5 million. After going public in 1991, Marvel filed for bankruptcy in 1996, but was revived in a
merger with toy company ToyBiz in 1998 to form Marvel Enterprises (Bell and Vassallo, 2013). During
this time, Marvel sold film rights to its characters in an attempt to secure capital; these deals included the
sale of film rights for Spider-Man to Sony Pictures, and X-Men and Fantastic Four to 20th Century Fox.
In 2002, Sony Pictures’ Spider-Man starring Tobey Maguire delivered a box office smash hit, grossing
over $403 million in the United States. Marvel’s licensed properties enjoyed healthy screen presence for
much of the decade, but Marvel proper made relatively little profit from its licensing deals with large film
studios and wanted to pursue means to maintain artistic control of the projects and distribution. By 2005,
Marvel’s film division, Marvel Studios, began planning to independently finance and produce its own
films and distribute them through Paramount Pictures. Marvel Enterprises, renaming itself Marvel
Entertainment to reflect its multimedia focus, looked to Marvel Studios president Kevin Feige to manage
its film aspirations, who realized that Marvel still owned the rights to the core cast of the Avengers, a
team of Marvel’s popular superheroes (Marvel: Assembling a Universe). In August 2009, The Walt
Disney Company announced its acquisition of Marvel Entertainment for $4.24 billion. Following the
announcement, Marvel's shares shot up by 26% to $48.78; the buyout valued Marvel at $50 per share.
Disney chairman Robert Iger stated “adding Marvel to Disney’s unique portfolio of brands provides
significant opportunities for long-term growth and value creation” (2009). Disney’s acquisition would
TRANSMEDIA STORYTELLING
Pellizzi 12
leverage Marvel’s library of characters “across its entire ecosystem from TV to parks, movies, consumer
products and video games,” said Citigroup analyst Jason Bazinet.
3.2. Marvel Cinematic Universe
3.2.1. Marvel Cinematic Universe History
2008’s Iron Man officially kicked off what would later be officially dubbed the “Marvel
Cinematic Universe”; the film was met with critical acclaim and grossed over $318 million in the United
States alone.* The Incredible Hulk, Iron Man 2, Thor, and Captain America: The First Avenger followed,
each debuting a character that would star in 2012’s The Avengers, directed by Joss Whedon. The
tremendous success of The Avengers not only signaled the winning strategy that Feige and Marvel
Studios had employed up to that point, but cemented the viability of this shared universe model. With a
gross of over $600 million in the United States and $1.5 billion worldwide, it ranks as the third highest
grossing film domestically and internationally.* These six films comprised "phase one" of the MCU,
with Marvel quickly drafting a schedule for "phase two" including sequel films for existing characters as
well as new franchises all slated for release in the years leading up to an Avengers sequel in 2015. 2013’s
Iron Man 3 grossed over $400 million in the United States; considered a sequel to both 2010’s Iron Man
2 and The Avengers, the film saw a 30% increase in revenue over its predecessor.* Following Disney’s
acquisition of Marvel, the company established a new television division that developed Agents of
S.H.I.E.L.D., a primetime network television series for ABC headlined by actor Clark Gregg, who had
appeared in almost every Marvel Studios film, and several short films. The door was open for other
characters to appear; Samuel L. Jackson’s Nick Fury made multiple appearances throughout the show’s
first season. In November 2013, Marvel announced a deal with Netflix to produce four serialized
programs culminating in a miniseries event, including Daredevil, Jessica Jones, Luke Cage, and Iron Fist,
leading into a team up miniseries, The Defenders. “This deal […] reinforces our commitment to deliver
Marvel’s brand, content and characters across all platforms of storytelling,” said Alan Fine, Marvel’s
president (2013). Kevin Feige later confirmed that the series would indeed be a part of the MCU
continuity, with the possibility of characters from existing projects appearing in these series.
TRANSMEDIA STORYTELLING
Pellizzi 13
Marvel’s transmedia narrative continued to evolve during “phase two”. Critics noted that while
the Agents of S.H.I.E.L.D. debuted to “very strong ratings among the advertiser-coveted adults 18-49
demographic,” the show quickly declined as it failed to offer “interesting protagonists or stories and [did
not take] advantage of its Marvel ties” (Sepinwall, 2013). The plot of Captain America: The Winter
Soldier, released in April 2014, dealt with the S.H.I.E.L.D. organization being infiltrated by the villainous
organization Hydra. The following episode of the series saw a dramatic change of pace as the same
situation unfolded on the small screen, helping to end the season on a critical and commercial high note.
James Gunn’s Guardians of the Galaxy defied all expectations by grossing over $330 million in the
United States when it released in August 2014; the strong value of the Marvel brand name helped
generate considerable goodwill for the film.* In October 2014, Marvel announced its full “phase three”
lineup through 2019, including third entries for the Thor and Captain America series, in addition to
Captain Marvel, the first Marvel Studios film to focus on a female superhero, Black Panther, the first
Marvel Studios film to star an African American superhero, Inhumans, and a two-part third Avengers film
(2014). Concurrently, the second season of Agents of S.H.I.E.L.D. debuted in a one-hour later timeslot on
ABC, with critics immediately noting the series’ darker, more mature storylines and role as a greater
driving force in the MCU narrative. Marvel’s second television series, Agent Carter, aired its 8-episode
season from January to March 2015. Agent Carter focused on post-World War II New York, featuring
the character that previously debuted in Captain America: The First Avenger. The most recent Marvel
Studios production, Daredevil, debuted in April 2015 on Netflix; Dominic Patten of Deadline.com called
the TV-MA-rated series as representative of “Marvel finally going much darker and bloodier after the
pastels of Agents of S.H.I.E.L.D and Agent Carter”.
TRANSMEDIA STORYTELLING
Pellizzi 14
3.2.2. Marvel Cinematic Universe Structure
The Marvel Cinematic Universe currently consists of 10 released films, 10 upcoming films, two
television series, five upcoming Netflix-based streaming series, five short films and numerous tie-in
comic books. Its films have grossed over $7 billion worldwide, with 2012’s The Avengers ranking as the
third highest grossing film in both the United States and internationally.
Marvel Studios Films, 2008 – Present*
Film
Year Director
Budget
2008 Jon Favreau
$140,000,000
Iron Man
2008 Louis Leterierr
$150,000,000
The Incredible Hulk
2010 Jon Favreau
$200,000,000
Iron Man 2
2011 Kenneth Branagh
$150,000,000
Thor
2011 Joe Johntson
$140,000,000
Captain America
2012 Joss Whedon
$220,000,000
The Avengers
2013 Shane Black
$200,000,000
Iron Man 3
2013 Alan Taylor
$170,000,000
Thor: The Dark World
2014 Joe & Anthony Russo
$170,000,000
Captain America: TWS
2014 James Gunn
$170,000,000
Guardians of the Galaxy
*Percent change in US gross for direct sequel over previous film
Total Gross (US)
$318,412,101
$134,806,913
$312,433,331
$181,030,624
$176,654,505
$623,357,910
$409,013,994
$206,362,140
$259,766,572
$305,926,000
Marvel Studios Future Films, 2015 – Present
Film
Avengers: Age of Ultron
Ant-Man
Captain America: Civil War
Doctor Strange
Guardians of the Galaxy 2
Spider-Man
Thor: Ragnarok
Avengers: Infinity War Part I
Black Panther
Captain Marvel
Avengers: Infinity War Part II
The Inhumans
Year
2015
2015
2016
2016
2017
2017
2017
2018
2018
2018
2019
2019
Director
Joss Whedon
Peyton Reed
Joe & Anthony Russo
Scott Derrickson
James Gunn
TBD
TBD
Joe & Anthony Russo
TBD
TBD
Joe & Anthony Russo
TBD
% Change*
N/A
N/A
-1.88%
N/A
N/A
N/A
30.91%
13.99%
47.05%
N/A
TRANSMEDIA STORYTELLING
Pellizzi 15
Marvel Studios Television Programs, 2013 – Present**
Series
Season
Episodes
Year
Nielsen Ratings*
Finale
Avg. Total
Premiere
Rank
(Viewers in millions)
Agents of S.H.I.E.L.D.
1
2
1
Agent Carter
*Includes DVR viewership
18–49
rating/share
22
22
2013
2014
12.12
5.98
5.45
TBD
8.31
TBD
43
TBD
3.0/9 (20)
TBD
8
2015
10.16
TBD
7.5
TBD
1.5/4
Marvel Studios Netflix Streaming Content, 2015 – Present
Series
Daredevil
A.K.A. Jessica Jones
Iron Fist
Luke Cage
The Defenders
Year # Episodes
Showrunner
2015
13 Steven DeKnight
2015
13 Melissa Rosenberg
2016
13
TBD
2016
13
TBD
TBD
TBD
TBD
Marvel Studios “One-Shot” Short Films, 2011 – Present
Film
The Consultant
A Funny Thing Happened on the
Way to Thor's Hammer
Item 47
Agent Carter
All Hail the King
Year
Director
2011
Leythum
2011
2012
Louis D'Esposito
2013
2014
Drew Pearce
Home Media Inclusion
Thor
Captain America: The First Avenger
The Avengers
Iron Man 3
Thor: The Dark World
TRANSMEDIA STORYTELLING
Pellizzi 16
Marvel Cinematic Universe Tie-In Comics
Title
Iron Man 2: Public Identity
Iron Man 2: Agents of
S.H.I.E.L.D.
Captain America: First
Vengeance
The Avengers Prelue: Fury's
Big Week
The Avengers Prelue: Black
Widow Strikes
Iron Man 3 Prelude
Thor: The Dark World Prelude
Captain America: The Winter
Soldier Infinite Comic
Guardians of the Galaxy
Prequel Infinite Comic
Guardians of the Galaxy
Prelude
Agents of S.H.I.E.L.D.: The
Chase
Ant-Man Prelude
Avengers: Age of Ultron
Prelude
Year
2010
# Issues
Writer
3 Justin Theroux
Joe Casey
2010
1
2011
4
2012
4
2012
2013
2013
3 Fred Van Lente
2 Christos Gage
2 Chris Yost
2014
1
2014
1
2014
2
2014
2015
George Kitson
1
2 Will Pilgrim
2015
1
Fred Van Lente
Chris Yost
Peter David
Dan Abnett
Dan Abnett
Will Pilgrim
Tie-in Media
Iron Man 2
Iron Man 2 / Agents of S.H.I.E.L.D.
Captain America: The First Avenger
The Avengers
The Avengers
Iron Man 3
Thor: The Dark World
Captain America: The Winter
Soldier
Guardians of the Galaxy
Guardians of the Galaxy
Agents of S.H.I.E.L.D.
Ant-Man
Avengers: Age of Ultron
3.2.3. Framework Application
This goal of this evaluation of Marvel Studios’ Cinematic Universe is to assess its structure
against the eight components of the established transmedia framework. Marvel’s practice of these
components will be discussed and rated on a scale from 1 (least effective) to 5 (most effective),
accounting for how these components inform its transmedia narrative strategy.
Framework Application Overview
Component
1)
Structure and coordinate
creative talent
2)
Leverage subjectivity of
medium
3)
Distinguish worldbuilding
from multiplicity
Marvel Summary
Kevin Feige leads a robust, collaboration-oriented creative
team that facilitates execution of long-term story goals
with evolving ideas.
Marvel content offers differentiated styles of
entertainment in various mediums that both play to the
strengths and potential audience of that medium and
diversify its overall product catalog.
Marvel Studios projects are all definitively interconnected
and exist in the same narrative world; other projects such
Rating
5
4
3
TRANSMEDIA STORYTELLING
Define a “primary text” to
4) establish a content
hierarchy
5)
Balance long-term vision
with flexibility
Leverage horizontal
6) integration to streamline
creative control
7)
Cultivate “encyclopedic
ambition” within audience
Employ “additive
8) comprehension” to
incentivize participation
Pellizzi 17
as animated series and comic books exist in separate
continuities.
Marvel Studios’ films exist as the primary point of entry
for audiences and carry the bulk of the MCU’s narrative
progression; other content expands upon or lays
groundwork for these larger stories.
Marvel Studios’ planning of film and television projects in
phases and focus on collaboration balances Feige’s longterm goals with flexibility to include newly proposed
elements.
Marvel’s acquisition by Disney allows it to leverage
Disney’s large infrastructure of media production and
distribution, marrying its properties to Disney’s wide array
of studios, networks, and other resources.
Marvel’s famous employment of the “post credits scene”
in its projects creates audience hooks for future or parallel
content and stimulates desire to seek out and experience
the next entry in the story.
The interactivity of Marvel characters between individual
franchises leaves storytelling threads that audiences are
compelled to follow up on in order to fully comprehend
the MCU’s overarching narrative.
5
4
4
5
4
1) Structure and coordinate creative talent
Marvel Studios President Kevin Feige has served as the guiding force behind all of its productions,
acting as the central authority in determining story direction across mediums. “Kevin is essential,” says
Marvel President Alan Fine; “he’s the key to how our characters translate into filmed entertainment”
(Leonard, 2014). When Marvel hired Kenneth Branagh and Joe Johnston to direct Thor and Captain
America: The First Avenger, respectively, Feige made sure that both directors would include characters
and scenes to set up The Avengers in their own films. Feige’s penchant for creative synergy affected the
development the 2015 film Ant-Man. Filmmaker Edgar Wright had been developing the project since
2003, but left the project in May 2014 over creative differences; Feige promptly had Wright’s script
rewritten in order to include more connections to the MCU. Marvel Studios also signs its stars to large
contracts to ensure continued appearances; Samuel L. Jackson signed a nine-picture deal to play Nick
Fury. The consistency of talent ensures familiarity for audiences who revisit the Marvel universe.
Rating: 5
TRANSMEDIA STORYTELLING
Pellizzi 18
2) Leverage subjectivity of medium
Marvel Studios intuitively leverages the scale and audience of various mediums to diversify its library
of content. Marvel Studios films are rooted squarely in the superhero genre, but each individual property
often includes elements of other film genres, such as Guardians of the Galaxy tackling the space opera
and Captain America: The Winter Soldier including elements of a political thriller. Marvel’s short films
offer humorous asides to the canon while also layering in elements that comment on the events of the
related property. Agents of S.H.I.E.L.D. stars non-superhero spies, while Agent Carter offered an entirely
new perspective in chronicling the title character’s struggle to prove herself to her male colleagues in the
SSR in post-World War II New York. Marvel’s first Netflix series, Daredevil, sports a TV-MA rating; its
darker tone compared to other projects opens new storytelling possibilities for creators and audiences.
Rating: 4
3) Distinguish worldbuilding from multiplicity
Captain America 2 co-director Anthony Russo stated that “the great thing about [the MCU], just like
the publishing [arm], it’s a very vast, inter-connected universe, where characters will have their rise and
fall, so to speak, and hand off to other characters” (McMillan, 2014). While Marvel Studios’ projects
across various mediums firmly cement themselves as part of a shared universe, they only comprise a
portion of Marvel’s full library; its publishing arm continues to release ongoing comic books in a
continuity separate from the MCU adaptations of its characters, while animated series such as Avengers
Assemble and Ultimate Spider-Man air on Disney’s various television networks, and, while taking
inspiration from other versions, exist in a separate continuity. The MCU, meanwhile, is cohesive across
each of its mediums.
Rating: 3
4) Define a “primary text” to establish a content hierarchy
Marvel Studios films stand squarely as the “primary text” of the MCU narrative, meaning that
viewers should be able to follow the big picture of the overall narrative through these entries alone should
they so choose. Before Marvel Studios began work on its television and streaming series, tie-in comic
TRANSMEDIA STORYTELLING
Pellizzi 19
books and short films helped to add additional substance to the universe slowly being developed in
“phase one” of the MCU. These were not “required reading” for audiences to understand the plot being
told in film, which reflects the fact that the comic book market is much more limited than that of major
feature films. The role of the MCU’s television series often supports events established in film in
addition to carrying out original storylines.
Rating: 5
5) Balance long-term vision with flexibility
Marvel’s division of its cinematic universe into phases allows it room to successfully map out both
long-term and short-term story goals. Captain America: The Winter Soldier director Joe Russo
commented on his experience with Marvel as being highly collaborative: “You're constantly pitching out
ideas that not only affect your movie, but may have a ripple effect that affects other films... It's a weird
sort of tapestry of writers and directors working together to create this universe that's sort of organic.” He
further praised Kevin Feige’s management style as establishing “big pieces that he knows he wants to
build towards, but the way that you get there is open to interpretation and improv a little bit. That’s
defined by who gets involved with the project, the writers and directors involved in the project” (Keyes).
The structure of content development within the MCU has allowed Feige to organically control its
direction.
Rating: 4
6) Leverage horizontal integration to streamline creative control
Marvel’s acquisition by The Walt Disney Company provided it with the security and infrastructure of
one of the largest entertainment companies in the world. The consolidation of media and entertainment
companies makes acquisition a desirable end; Marvel being a part of a large company that owns interests
in many media types and provides strong creative and financial leadership and support improves the
execution of all of its media projects. Marvel’s live action and animated series have secure homes on
Disney television networks, Marvel has publication access to Disney-owned properties such as Star Wars,
TRANSMEDIA STORYTELLING
Pellizzi 20
and Marvel’s characters have potential to be incorporated into Disney theme parks. In terms of the MCU,
Disney’s infrastructure facilitates smooth distribution of content across several mediums.
Rating: 4
7) Cultivate “encyclopedic ambition” within audience
Including an after or mid credits “stinger” for the purposes of humor or hinting at a sequel is far
from a new concept in the entertainment industry; Marvel Studios, however, has made the concept iconic.
Samuel L. Jackson first appeared as S.H.I.E.L.D. Director Nick Fury in an after credits scene in 2008’s
Iron Man to talk about the “Avengers initiative”, leaving audiences to speculate as to what the future of
the series held. Later, a scene after the credits of 2010’s Iron Man 2 would reveal the discovery of Thor’s
hammer as a tease for his upcoming film. This trend has continued in each of Marvel Studios’ subsequent
films as well as television projects, with a brief coda teasing future plots following each episode of Agents
of S.H.I.E.L.D. and Agent Carter. These effective teasers continue to create hype for audiences as
viewers have come to expect these teasers as an integral part of their narrative consumption experience.
Rating: 5
8) Employ “additive comprehension” to incentivize participation
By having characters organically hover between individual properties, Marvel Studios cleverly lays
groundwork for its content in other mediums or franchises. Audiences can expand their comprehension
of the MCU world by continuing to collect and attain all of the information offered by different mediums
and content forms. Marvel Studios ensures its content is accessible to first time viewers— The Avengers,
while capitalizing on the advance plot threads laid out in previous films, made sure to reestablish the
world in order to acclimate new audiences. Actors Samuel L. Jackson, as Nick Fury, and Clark Gregg, as
Agent Phil Coulson, have served as connective presences in a majority of MCU content, crossing over
into individual characters’ films to provide backstory and lay groundwork for future plots. Coulson now
headlines Agents of S.H.I.E.L.D.; both actors continue to serve connective roles in the MCU.
Rating: 4
TRANSMEDIA STORYTELLING
Pellizzi 21
iii. Conclusion
Transmedia storytelling has firmly established itself as a valuable entertainment development
strategy, as it leverages the considerable screen-based media infrastructure of modern society to deliver a
multiple touchpoint, shared content experience. By establishing a model framework and applying it to a
case example, this research project has examined the creative factors integral to developing a transmedia
storytelling strategy; these concepts seem fundamental in the construction of a viable transmedia
narrative. If Marvel’s $7 billion “Cinematic Universe” model is any indication, the opportunity for
executing synergistic consumer entertainment across multiple platforms is ripe to explore. With an
extensive, highly anticipated lineup that builds upon a carefully constructed narrative, Marvel Studios has
offered up the preeminent example of a transmedia storytelling strategy that audiences have entrusted
with their full engagement and participation.
*All box office statistics retrieved from Box Office Mojo (http://www.boxofficemojo.com)
**All television ratings statistics retrieved from Nielsen Holdings (http://www.nielsen.com)
TRANSMEDIA STORYTELLING
Pellizzi 22
iv. Reference List
Jenkins, Henry. "Transmedia Storytelling 101." Confessions of an AcaFan. N.p., 22 Mar. 2007. Web. 18
Dec. 2014. Retrieved from http://henryjenkins.org/2007/03/transmedia_storytelling_101.html
Jenkins, Henry. (2007). "Revenge of the Oragami Unicorn: Seven Prinicples of Transmedia Storytelling”.
Confessions of an AcaFan. Retrieved from
http://henryjenkins.org/2009/12/the_revenge_of_the_origami_uni.html
Jenkins, Henry. (2009). "Revenge of the Oragami Unicorn: The Remaining Four Principles of
Transmedia Storytelling." Confessions of an AcaFan. Retrieved from
http://henryjenkins.org/2009/12/revenge_of_the_origami_unicorn.html
Jenkins, Henry. (2010). "Transmedia Education: The Seven Principles Revisited”. Confessions of an
AcaFan. Retrieved from http://henryjenkins.org/2010/06/transmedia_education_the_7_pri.html
Garibian, Lenna. (2012). “Is This the Future of Content Marketing? Transmedia Storytelling Emerges”.
Marketing Profs. Retrieved from http://www.marketingprofs.com/charts/2012/8762/is-transmediastorytelling-the-future-of-content-marketing#ixzz2sOI4npt8
Hayes, Simon. (2013). “Transmedia Storytelling and its Importance for Digital Marketing”. 8ms.
Retrieved from http://www.8ms.com/2013/09/11/transmedia-storytelling-importance-digital-marketing/
Fogel, Elaine. (2012). “What’s the Role of Transmedia Storytelling in Marketing?”. Marketing Profs.
Retrieved from http://www.marketingprofs.com/opinions/2012/23726/what-s-the-role-of-transmediastorytelling-in-marketing/
TRANSMEDIA STORYTELLING
Pellizzi 23
Bell, B., & Vassallo, M. (2013). The secret history of Marvel Comics: Jack Kirby and the moonlighting
artists at Martin Goodman's empire. Fantagraphics Books.
“Disney to Acquire Marvel Entertainment”. (2009). Retrieved from
http://marvel.com/news/comics/9360/disney_to_acquire_marvel_entertainment
“Disney’s Marvel and Netflix Join Forces to Develop Historic Four Series Epic Plus a Mini-Series Event”
(2013). Retrieved from
http://marvel.com/news/tv/21476/disneys_marvel_and_netflix_join_forces_to_develop_historic_four_seri
es_epic_plus_a_mini-series_event
“Marvel Studios Announces Full Phase 3 Slate at Special Event”. (2014). Retrieved from
http://marvel.com/news/movies/23547/marvel_studios_announces_full_phase_3_slate_at_special_event
Leonard, Devin. (2014). “Kevin Feige, Marvel's Superhero at Running Movie Franchises”.
Bloomberg.com. Retrieved from http://www.bloomberg.com/bw/articles/2014-04-03/kevin-feigemarvels-superhero-at-running-movie-franchises
McMillan, Graeme. (2014). “Captain America Director Interview”. THR. Retrieved from
http://www.hollywoodreporter.com/heat-vision/captain-america-director-hints-at-728549
Keyes, Rob. (2014). “Directors Anthony and Joe Russo”. Screenrant. Retrieved from
http://screenrant.com/captain-america-2-set-visit-anthony-joe-russo/
Sepinwall, Alan. (2013). “Review: Agents of S.H.I.E.L.D.”. Hitflix. Retrieved from
http://www.hitfix.com/whats-alan-watching/review-whats-wrong-with-marvels-agents-of-shield/2
TRANSMEDIA STORYTELLING
Pellizzi 24
Mendelson, Scott. (2014). "The Price Sony Paid For Rebooting 'Spider-Man'" Forbes. Retrieved from
http://www.forbes.com/sites/scottmendelson/2014/05/13/the-price-sony-paid-for-rebooting-spiderman/?partner=yahootix
Feige, Kevin. (2014). Marvel: Assembling a Universe. United States: Marvel Studios.