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devoted to helping people fi nd and maintain automobiles that are right for them.
She loves her job. “I'm not the dog lady, but learning transmedia design informs
everything I do,” she says. “Switch out dogs for cars and there you are, creating an
ecosystem to support relationships.”
A dog lover
plays remotely
with a shelter
dog. (Photo
courtesy of
Laura Crawford.)
Part of the motivation for transmedia design is, as Henry Jenkins says,
to motivate more consumption. I think that's a lousy motivation. Another
motivation is to extend fandom by offering a variety of media choices,
but if the various media types are not orchestrated well or engage in too
much “redundancy,” the project will likely fail. The best motivation of all
is to extend the world of a story into a variety of media types to provide
greater pleasure, excitement, and depth for fans. Each element has its own
magnitude and perhaps its own story arc. Fans will weave these elements
together in a rich journey. Jenkins' caution against redundancy points to
the fact that a transmedia “story,” like a good drama, is an organic whole
and uses the same selection criteria that Aristotle recommended in deciding
whether a particular incident or scene should be part of that whole.
Virtual Reality (VR) is a medium in which the human sensorium is sur-
rounded by (or immersed in) stimuli that are partially or wholly generated
