{"title":"利用 \"穿靴子的猫 \"角色讲述跨媒体故事的研究","authors":"SunJung Ryu","doi":"10.32611/jgcc.2023.11.57.39","DOIUrl":null,"url":null,"abstract":"In the era of digital convergence, transmedia storytelling, which expands narratives by intertwining and combining multiple media, is creating a new paradigm for narrative creation. Puss in Boots, who appeared as a supporting role in , is a character derived from Charles Perrault's The Master Cat or Puss in Boots, and has gained significant popularity among the public. Due to its popularity, Puss in Boots became the main character in , a spin-off of . Subsequently, as achieved success, various transmedia content featuring Puss in Boots as the main character was produced across different media platforms, including mobile games, theatrical animations, OTT animations and interactive animation. This article aims to provide a detailed examination of the requirements and characteristics of transmedia storytelling. It also analyzes various instances of transmedia content utilizing the character of Puss in Boots. To scrutinize the transformation of characters' roles and the expansion of narrative structures, which are essential aspects of transmedia storytelling, we apply the 'actantial model' developed by A.J. Greimas to each content. Through this analysis, we can explore how the character of Puss in Boots serves as a pivotal link between transmedia contents and functions as a narrative mechanism. It becomes evident that discovering archetypal and fantasy characters, adapting their roles and personalities, and strategically reintroducing secondary characters while setting up foreshadowing are crucial elements in successful transmedia storytelling. Furthermore, it is essential to create an “integral” story universe that considers various types of connections between content, such as sequels, prequels, spin-offs, and reboots. This should be done while leveraging diversified media platforms that engage users in immersion and participation.","PeriodicalId":161830,"journal":{"name":"Academic Association of Global Cultural Contents","volume":"7 20","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A Study on Transmedia Storytelling Using the Character of ‘Puss in Boots\",\"authors\":\"SunJung Ryu\",\"doi\":\"10.32611/jgcc.2023.11.57.39\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In the era of digital convergence, transmedia storytelling, which expands narratives by intertwining and combining multiple media, is creating a new paradigm for narrative creation. Puss in Boots, who appeared as a supporting role in , is a character derived from Charles Perrault's The Master Cat or Puss in Boots, and has gained significant popularity among the public. Due to its popularity, Puss in Boots became the main character in , a spin-off of . Subsequently, as achieved success, various transmedia content featuring Puss in Boots as the main character was produced across different media platforms, including mobile games, theatrical animations, OTT animations and interactive animation. This article aims to provide a detailed examination of the requirements and characteristics of transmedia storytelling. It also analyzes various instances of transmedia content utilizing the character of Puss in Boots. To scrutinize the transformation of characters' roles and the expansion of narrative structures, which are essential aspects of transmedia storytelling, we apply the 'actantial model' developed by A.J. Greimas to each content. Through this analysis, we can explore how the character of Puss in Boots serves as a pivotal link between transmedia contents and functions as a narrative mechanism. It becomes evident that discovering archetypal and fantasy characters, adapting their roles and personalities, and strategically reintroducing secondary characters while setting up foreshadowing are crucial elements in successful transmedia storytelling. Furthermore, it is essential to create an “integral” story universe that considers various types of connections between content, such as sequels, prequels, spin-offs, and reboots. 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引用次数: 0
摘要
在数字融合时代,跨媒体叙事通过交织和结合多种媒体来扩展叙事,正在创造一种新的叙事创作范式。穿靴子的猫》中的配角 "穿靴子的猫"(Puss in Boots)是查尔斯-佩罗(Charles Perrault)的《猫爷》(The Master Cat)或《穿靴子的猫》(Puss in Boots)的衍生角色,在公众中拥有极高的人气。随后,随着《穿靴子的猫》的成功,以它为主角的各种跨媒体内容在不同的媒体平台上产生,包括手机游戏、戏剧动画、OTT 动画和互动动画。 本文旨在详细探讨跨媒体叙事的要求和特点。文章还分析了利用穿靴子的猫这一角色制作跨媒体内容的各种实例。人物角色的转变和叙事结构的扩展是跨媒体叙事的重要方面,为了仔细研究这两个方面,我们将 A.J. Greimas 开发的 "行为模型 "应用到每个内容中。通过这一分析,我们可以探讨穿靴子的猫(Puss in Boots)这一角色如何成为跨媒体内容之间的关键纽带并发挥叙事机制的作用。显而易见,发掘原型人物和幻想人物,调整他们的角色和性格,有策略地重新引入次要人物,同时设置预示,是成功讲述跨媒体故事的关键要素。此外,还必须创建一个 "完整 "的故事世界,考虑到内容之间的各种联系,如续集、前传、衍生产品和重启。要做到这一点,就必须利用多样化的媒体平台,让用户身临其境并参与其中。
A Study on Transmedia Storytelling Using the Character of ‘Puss in Boots
In the era of digital convergence, transmedia storytelling, which expands narratives by intertwining and combining multiple media, is creating a new paradigm for narrative creation. Puss in Boots, who appeared as a supporting role in , is a character derived from Charles Perrault's The Master Cat or Puss in Boots, and has gained significant popularity among the public. Due to its popularity, Puss in Boots became the main character in , a spin-off of . Subsequently, as achieved success, various transmedia content featuring Puss in Boots as the main character was produced across different media platforms, including mobile games, theatrical animations, OTT animations and interactive animation. This article aims to provide a detailed examination of the requirements and characteristics of transmedia storytelling. It also analyzes various instances of transmedia content utilizing the character of Puss in Boots. To scrutinize the transformation of characters' roles and the expansion of narrative structures, which are essential aspects of transmedia storytelling, we apply the 'actantial model' developed by A.J. Greimas to each content. Through this analysis, we can explore how the character of Puss in Boots serves as a pivotal link between transmedia contents and functions as a narrative mechanism. It becomes evident that discovering archetypal and fantasy characters, adapting their roles and personalities, and strategically reintroducing secondary characters while setting up foreshadowing are crucial elements in successful transmedia storytelling. Furthermore, it is essential to create an “integral” story universe that considers various types of connections between content, such as sequels, prequels, spin-offs, and reboots. This should be done while leveraging diversified media platforms that engage users in immersion and participation.