Entertainment marketing strategy - Transmedia storytelling · PDF fileENTERTAINMENT MARKETING STRATEGY: TRANSMEDIA STORYTELLING Marvel and the Reinvention of the Entertainment Franchise

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 Pellizzi 2

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


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?


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


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 Concept

Spreadability vs Drillability Generate wide spread of content while maintaining

quality of “additive comprehension” in narrative

construction

Continuity vs Multiplicity Balance continuity of content across mediums with

unique value for each piece of content dependent

on medium and audience

Immersion vs Extractability Draw upon consumers’ perceived relationship with

narrative experiences and life experiences

Worldbuilding Generate “encyclopedic impulse” among audience

to delve further into created world

Seriality Develop some sense of order to components to

create through-line of narrative experience

Subjectivity Utilize opportunity of different perspectives for

each piece of content or platform and further

diversify narrative

Performance Leverage attractor quality of transmedia narrative

while activating consumer participation


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

Interactivity Allowing consumers to become part of the

narrative, and possibly influence the outcome

Integration Having a seamless connection among all platforms

Impact Inspiring consumers to take action of some kind

(e.g., purchase a product, sign up for a service,

support a cause, etc.)

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


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 Description

1) Structure and coordinate

creative talent

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.

2) Leverage subjectivity

potential of medium

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.

3) Distinguish worldbuilding

from multiplicity

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.

4)

Define a “primary text” to

establish a content

hierarchy

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.

5) Balance long-term vision

with flexibility

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 long-

term sustainability of the project.

6)

Leverage horizontal

integration to streamline

creative control

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.

7) Cultivate “encyclopedic

ambition” within audience

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.

8)

Employ “additive

comprehension” to

incentivize participation

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-transmedia-

everywhere


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


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


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


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


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.


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”.


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 Total Gross (US) % Change*

Iron Man 2008 Jon Favreau $140,000,000 $318,412,101 N/A

The Incredible Hulk 2008 Louis Leterierr $150,000,000 $134,806,913 N/A

Iron Man 2 2010 Jon Favreau $200,000,000 $312,433,331 -1.88%

Thor 2011 Kenneth Branagh $150,000,000 $181,030,624 N/A

Captain America 2011 Joe Johntson $140,000,000 $176,654,505 N/A

The Avengers 2012 Joss Whedon $220,000,000 $623,357,910 N/A

Iron Man 3 2013 Shane Black $200,000,000 $409,013,994 30.91%

Thor: The Dark World 2013 Alan Taylor $170,000,000 $206,362,140 13.99%

Captain America: TWS 2014 Joe & Anthony Russo $170,000,000 $259,766,572 47.05%

Guardians of the Galaxy 2014 James Gunn $170,000,000 $305,926,000 N/A

*Percent change in US gross for direct sequel over previous film

Marvel Studios Future Films, 2015 – Present

Film Year Director

Avengers: Age of Ultron 2015 Joss Whedon

Ant-Man 2015 Peyton Reed

Captain America: Civil War 2016 Joe & Anthony Russo

Doctor Strange 2016 Scott Derrickson

Guardians of the Galaxy 2 2017 James Gunn

Spider-Man 2017 TBD

Thor: Ragnarok 2017 TBD

Avengers: Infinity War Part I 2018 Joe & Anthony Russo

Black Panther 2018 TBD

Captain Marvel 2018 TBD

Avengers: Infinity War Part II 2019 Joe & Anthony Russo

The Inhumans 2019 TBD


Marvel Studios Television Programs, 2013 – Present**

Series Season Episodes Year

Nielsen Ratings*

Premiere Finale Avg. Total

Rank 18–49

rating/share (Viewers in millions)

Agents of S.H.I.E.L.D.

1 22 2013 12.12 5.45 8.31 43 3.0/9 (20)

2 22 2014 5.98 TBD TBD TBD TBD

Agent Carter 1 8 2015 10.16 TBD 7.5 TBD 1.5/4

*Includes DVR viewership

Marvel Studios Netflix Streaming Content, 2015 – Present

Series Year # Episodes Showrunner

Daredevil 2015 13 Steven DeKnight

A.K.A. Jessica Jones 2015 13 Melissa Rosenberg

Iron Fist 2016 13 TBD

Luke Cage 2016 13 TBD

The Defenders TBD TBD TBD

Marvel Studios “One-Shot” Short Films, 2011 – Present

Film Year Director Home Media Inclusion

The Consultant 2011 Leythum

Thor

A Funny Thing Happened on the

Way to Thor's Hammer 2011 Captain America: The First Avenger

Item 47 2012 Louis D'Esposito

The Avengers

Agent Carter 2013 Iron Man 3

All Hail the King 2014 Drew Pearce Thor: The Dark World


Marvel Cinematic Universe Tie-In Comics

Title Year # Issues Writer Tie-in Media

Iron Man 2: Public Identity 2010 3 Justin Theroux Iron Man 2

Iron Man 2: Agents of

S.H.I.E.L.D. 2010 1 Joe Casey

Iron Man 2 / Agents of S.H.I.E.L.D.

Captain America: First

Vengeance 2011 4 Fred Van Lente

Captain America: The First Avenger

The Avengers Prelue: Fury's

Big Week 2012 4 Chris Yost

The Avengers

The Avengers Prelue: Black

Widow Strikes 2012 3 Fred Van Lente The Avengers

Iron Man 3 Prelude 2013 2 Christos Gage Iron Man 3

Thor: The Dark World Prelude 2013 2 Chris Yost Thor: The Dark World

Captain America: The Winter

Soldier Infinite Comic 2014 1 Peter David

Captain America: The Winter

Soldier

Guardians of the Galaxy

Prequel Infinite Comic 2014 1 Dan Abnett



Prelude 2014 2 Dan Abnett


Agents of S.H.I.E.L.D.: The

Chase 2014 1 George Kitson

Agents of S.H.I.E.L.D.

Ant-Man Prelude 2015 2 Will Pilgrim Ant-Man

Avengers: Age of Ultron

Prelude 2015 1 Will Pilgrim

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 Marvel Summary Rating

1) Structure and coordinate

creative talent

Kevin Feige leads a robust, collaboration-oriented creative

team that facilitates execution of long-term story goals

with evolving ideas. 5

2) Leverage subjectivity of

medium

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.

4

3) Distinguish worldbuilding

from multiplicity

Marvel Studios projects are all definitively interconnected

and exist in the same narrative world; other projects such 3


as animated series and comic books exist in separate

continuities.

4)

Define a “primary text” to

establish a content

hierarchy

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.

5

5) Balance long-term vision

with flexibility

Marvel Studios’ planning of film and television projects in

phases and focus on collaboration balances Feige’s long-

term goals with flexibility to include newly proposed

elements.

4

6)

Leverage horizontal

integration to streamline

creative control

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.

4

7) Cultivate “encyclopedic

ambition” within audience

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.

5

8)

Employ “additive

comprehension” to

incentivize participation

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.

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


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


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,


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


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)


iv. Reference List

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Jenkins, Henry. (2007). "Revenge of the Oragami Unicorn: Seven Prinicples of Transmedia Storytelling”.

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Jenkins, Henry. (2009). "Revenge of the Oragami Unicorn: The Remaining Four Principles of

Transmedia Storytelling." Confessions of an AcaFan. Retrieved from

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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”.

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storytelling-the-future-of-content-marketing#ixzz2sOI4npt8

Hayes, Simon. (2013). “Transmedia Storytelling and its Importance for Digital Marketing”. 8ms.

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Fogel, Elaine. (2012). “What’s the Role of Transmedia Storytelling in Marketing?”. Marketing Profs.

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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

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“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

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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-feige-

marvels-superhero-at-running-movie-franchises

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Sepinwall, Alan. (2013). “Review: Agents of S.H.I.E.L.D.”. Hitflix. Retrieved from

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Mendelson, Scott. (2014). "The Price Sony Paid For Rebooting 'Spider-Man'" Forbes. Retrieved from

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