For the past year almost, I’ve been following the discussion about ‘transmedia planning’ that has been taking place in cyberspace and at conferences. In response to Henry Jenkins’ ‘transmedia storytelling’, Faris Yakob introduced  ‘Transmedia Planning’ in October 2006:
In this model, there would be an evolving non-linear brand narrative. Different channels could be used to communicate different, self-contained elements of the brand narrative that build to create an larger brand world. Consumers then pull different parts of the story together themselves.
Since then there has been alot of discussion about the difference between ‘transmedia planning’ and other approaches such as synergistic, cross-channel, multi-channel, media neutral, integrated and 360. The problem with all of these approaches is that the meaning or intention behind them is not shared. People have been implementing each of these approaches in many different ways. So when someone says A is not B or A = B, both are true. Some people have been implementing what is now regarded as ‘transmedia planning’ and calling it other things, and some people haven’t been implementing it at all and so the concept is an inspiring new one. Indeed, ‘transmedia planning’ doesn’t describe the only way IMHO to implement the use of multiple media platforms, people, storytelling and participation.
If you’re not aware of the debate that has been taking place, follow the cybertrail, and join the Transmedia Facebook Group that was started by Adam Crowe. At present their isn’t any new information on there that readers of this blog wouldn’t know, but I’m sure (hoping) there will be some very interesting links and discussions in the not too distant future.
I’m keen to find out about fan productions that have been officially or unofficially deemed part of the main canon, fanon or at least highly regarded. According to Ms Nitpicker’s FanFic Glossary (2002-2006):
“Fanon” is a detail about a particular show or character that was created by a fan but has now been generally borrowed/copied/accepted as canon by many other writers. [source]
Here are some works that are highly regarded:Â
STAR TREK
Star Trek: The New Voyages
A 1976 book compilation of stories to continue the narrative after the cancelled TV series of Star Trek.  It was edited by Sondra Marshak and Myrna Culbreath and had a forward by Gene Roddenberry and an introduction by Leonard Nimoy. It was published by Bantam Books, apparently the first commercial compilation of fan fiction.
Star Trek: New Voyages
This web-only series continues after the 1969 third season of the TV series, but is not an adaptation of the print series. It began in 1997 with James Cawley and Next Generation costume designer William Ware Theiss. Original props, set and costumes were used as well as some guest starring roles by original actors. There has been a pilot, Come What May, and five episodes produced so far. More are in production. Official site.
STAR WARS
The Dark Redemption
Set in George Lucas’ Star Wars ‘verse, The Dark Redemption narrative is set two days before A New Hope (ep 4). The 1999 film explains (gives a possible scenario) about how the rebels got hold of plans about the Death Star. It is the story of a Jedi, Mara Jade, and how she tries to escape from an Imperial prison. Directed by Peter Mether; screenplay by Peter Mether, Dwight Boniecki and Derek Curtis. Features original Star Wars cast member Peter Sumner (Imperial Officer Lt. Pol Triedum).Â
Star Wars: Revelations
Released in 2005, Star Wars: Revelations is also set in the Star Wars ‘verse. The narrative, set between Revenge of the Sith (ep 3) and A New Hope (ep 4), explains why the Jedi Order became almost extinct. It has many original characters (Darth Vader, the Emperer, the stormtroopers) but has more of its own. The film intended to give a reason for why the Jedi Order was extinct in the original trilogy. It was directed by Shane Felux and written by Dawn Cowings and Sarah Yaworsky. Official site.Â
Star Wars Episode I.I – The Phantom EditÂ
Although this 2000 feature film is not a continuation but an edit of the original film, it is included because it is highly regarded by fans and critics as a ‘better’ version of The Phantom Menace. It was edited by Mike J. Nichols.
BUFFY & ANGEL
Buffy & Angel > Forgotten Memories
This 2006 film is a cross-over of Buffy and Angel and continues the narrative 2-3 months after the final Buffy episode of ‘The Chosen’. In this short film the main characters are played by new actors. It explores the possible story of the character Spike returning to Buffy. It was directed by Darren K. Hawkins, written and performed by Emma Paige Langley. Although the Buffy TV series has finished it has actually continued in Joss Whedon’s graphic novel continuation. Season 8 is in the comic form but this fan film is in the media form the series started in. Official Site
FIREFLY/SERENITY
Firefly > Into the Black
Created by Shindigital, it is a TV series set in in Joss Whedon’s Firefly ‘verse. The first one-hour episode, Mined Control, is the only one created so far and hasn’t been released as yet. New characters and stories have been created. Official site.
JANE EYRE
Wide Sargasso Sea
Jean Rhys’ 1966 novel Wide Sargasso Sea is set in the fictional world of Charlotte Bronte’s 1847Â novel Jane Eyre. Rhy’s novel is a prequel to Jane Eyre and features the original character Mrs. Rochester, Antionette Mason (Bertha).
What are some works you know that continue a story (I’m not after parodies) that are fanon, canon or highly regarded at contributing to a world?… Any grassroots games (even hacks or plugins that make a game better)? theatre productions? radio shows? etc?
Apparently, there is a new journal out that will publish in March 08. Here is the highly relevant (to readers of this blog) call for papers (CFP):
Science Fiction Film and Television is a biannual, peer-reviewed journal published by Liverpool University Press. Edited by Mark Bould (UWE) and Sherryl Vint (Brock University), with an international board of advisory editors, it encourages dialogue among the scholarly and intellectual communities of film studies, sf studies and television studies.
We invite submissions on all areas of sf film and television, and which situate texts, practices and institutions within broader national, historical, cultural, theoretical and critical contexts. In addition to popular and contemporary works, we are interested in papers which consider neglected texts, propose innovative ways of looking at canonical texts, or explore the tensions and synergies that emerge from the interaction of genre and medium. We encourage work that considers the specificities of the genre and what its increasing centrality to film and television globally might suggest for critical approaches to film, sf and television.
We publish articles (6000-8000 words), book and DVD reviews (1000-2000 words) and review essays (up to 5000 words). Suggestions for papers include but are not limited to the following areas:
•silent sf
•European sf (e.g., French New Wave, Turkish pop cinema)
•East Asian sf (e.g., kaiju eiga, anime)
•Hollywood sf blockbusters
•animation and greenscreen
•adaptations
•low-budget and independent sf
•children’s sf
•costume, design and music
•spectacle and special effects
•the ‘soap opera-isation’ of television sf
•sf and avant-garde practice
•the relationships between globalisation, transnationalisation, media convergence and sf
•the science-fictionality of media technologies and forms themselves
•cross-media and transnational franchises
•audience, fans and consumption
Articles should be 6000-8000 words (MLA format) and include a 100-word abstract. Electronic submission in MS Word is preferred. Send submissions to both editors at mark.bould@gmail.com and sherryl.vint@gmail.com. If you are interested in reviewing a book or DVD, or have materials you would like reviewed, please contact Sherryl Vint.