User:Danted313/sandbox

MEDIA FRANCHISE

Sources that may be used:


 * Marazi,K.(2015).Brand Identity, Adaptation, and Media Franchise Culture. Acta Universitatis Sapientiae, Film and Media Studies,9(1) 229-242 - (1)
 * Fleury, J., Hartzheim, B. H., & Mamber, S. (Eds.). (2019). The Franchise Era: Managing Media in the Digital Economy. Edinburgh University Press - (2)
 * Saito, Satomi (2015-12-20), "Beyond the Horizon of the Possible Worlds:", Mechademia 10, University of Minnesota Press,143–161, retrieved 2022-11-23 - (3)
 * Bainbridge, Jason (2014-07). "'It is a Pokémon world': The Pokémon franchise and the environment". International Journal of Cultural Studies. 17 (4): 399–414 - (4)
 * Marcus, Daniel (2018-06-22), Kackman, Michael; Kearney, Mary Celeste (eds.), "Non-Fiction Media", The Craft of Criticism (1 ed.), Routledge, 47–58 - (5)
 * Jenkins. (2010). Transmedia Storytelling and Entertainment: An annotated syllabus. Continuum (Mount Lawley, W.A.), 24(6), 943–958 (6)
 * McErlean, K. (2018). Interactive Narratives and Transmedia Storytelling: Creating Immersive Stories Across New Media Platforms (1st ed.). Routledge, 1-13 - (7)
 * Harvey. (2015). Fantastic transmedia : narrative, play and memory across science fiction and fantasy storyworlds. Palgrave Macmillan, 1-11 - (8)
 * Bourdaa. (2018). From One Medium to the Next: How Comic Books Create Richer Storylines. M/C Journal, 21 - (9)
 * Månsson, Buchmann, A., Cassinger, C., & Eskilsson, L. (2021). The Routledge companion to media and tourism (Månsson, A. Buchmann, C. Cassinger, & L. Eskilsson, Eds.; 1st. ed.). Routledge, 27-34 (10)
 * McCulloch, & Proctor, W. (2019). Disney’s Star Wars : Forces of Production, Promotion, and Reception (McCulloch & W. Proctor, Eds.). University of Iowa Press, 136 - 149 - (11)
 * Fuschillo. (2020). Fans, fandoms, or fanaticism? Journal of Consumer Culture, 20(3), 347–365 - (12)
 * Wilkins, K. (2019). Young Adult Fantasy Fiction: Conventions, Originality, Reproducibility (Elements in Publishing and Book Culture). Cambridge: Cambridge University Press - (13)

Drafting:


 * First Contribution - Adding mention of "Brand Worlds" to Fiction section
 * " Spin-offs and adaptations of popular pieces of media within a franchise can even be created, which ultimately leads to the creation of brand worlds (1), such as that of the cinematic world of Breaking Bad" . - 34 Words - Seems that the portion about Breaking Bad was removed.
 * Second Contribution - Adding more information on Japanese "media mix" examples and history (the benchmarks)
 * "Some of the earlier popular Japanese franchises such as Vampire Hunter D in the 1980s and Pokemon in the late 1990's, acted as benchmarks in the country's transmedia dominance (3) (4). The latter in particular began as a video game available on Nintendo's Game Boy, and crossed through the mediums of television, film, news, and other non-media related realms, such trading cards, merchandise, and more.(4)" - 63 Words
 * Combining next sentence (which was previously formatted as its own paragraph) with the one I added above and the final pre-existing sentence in this section. "For example, Pokemon's penetration into the American market of the franchise along with others of Japanese origin, such as Yu-Gi-Oh!, gave rise to the recognition of what is variously called transmedia storytelling, crossmedia, transmediation, media synergy, etc" - 37 words
 * Third Contribution - Adding information to Non-Fiction section
 * "Non-Fiction media franchises also exist in the television and film mediums, with reality TV being one of the most well-known examples; ranging from competition shows like The Amazing Race to the day-in-the-life episodes of the many different Real Housewives series (5) . Documentaries and docuseries are other highlights of the non-fiction branch of media franchises, (5) such as the popular Planet Earth series, which serves as both a film and television transmedia franchise". - 70 Words
 * Fourth Contribution - Expanding in Transmedia
 * Fourth sentence of section - "In the case of successful transmedia franchises, each different medium should expand the target demographic and fandom, build the interest of the consumers and add to the overarching story and narrative of the franchise itself. (6) A connection between the characters, settings, and other elements of the media franchise do still exist within the different mediums, regardless of the fact that they are being presented in sometimes completely different ways (7), such as the shared, interweaving storylines and elements of the Spider-Man films, television shows, comics and video games." - 87 words
 * Fifth Contribution - Transmedia and canon content
 * "Transmedia franchises occasionally release content through certain mediums that is not canon to the main or greater story that the franchise is built around, meaning that the elements of said content do not truly exist in the main timeline of the franchise. (8) Canon content often times breaks continuity, leading fans to speculate or seek to confirm which mediums are canon and which are not, which can get confusing if the franchise does not provide an answer themselves since entire mediums can be non-canon to the greater story, with a popular example occurring within the Doctor Who franchise, where the released audio series is considered non-canon in the greater context of the TV show. (8) On the other hand, specific episodes, volumes or parts of a series can be canon while others in the same medium are not, such as the fact that only some of the Battlestar Galactica comics are canon, with a large amount of them breaking the continuity of the main story." (9) - 163 words
 * Sixth Contribution - Adding content to Fiction section
 * "Since the creation of Disneyland in 1955, bringing fictional media franchises to life through the theme parks is slowly became increasingly popular as the way to perfectly blend tourism and real-life involvement with media itself. (10). Similar to transmedia, the concept of bringing fictional media into a non-fictional space where fans can immerse themselves in real-life versions of elements from the fictional worlds they love, adds to the overall narrative the franchise creates through its other mediums. (11). Marvel's Avenger's Campus park is one of the many franchise-based theme parks created in recent times, following the creation of The Wizarding World of Harry Potter at Universal Studio's Islands of Adventure and Star Wars' Galaxy's Edge at Disneyland and Disney World." - 118 words
 * Seventh Contribution - Transmedia and fandoms
 * Third sentence of section - "Those large groups of dedicated consumers create the franchise's fandom, which is the community of fans that indulge in many of its mediums and are committed to interacting with and keeping up with other consumers. (12) Large franchise-based fandoms have grown to be even more popular in recent years with the rise of social media platforms, as many fans seek to interact with one another for discussion, debate and even to create their own fan-made pieces of media revolving around the franchise, on websites like Tumblr, Reddit and the self-titled "wiki" site, Fandom (13)." - 92 words