OTT & Transmedia

The first question for all projects of any size is, what audience is interested in your franchise and why? You cannot actually create a "transmedia" franchise for something that doesn't exist in the market somewhere. Because, among other reasons, each of those markets are different with different demographics, viewing habits and tropes. They do not necessarily cross over different media, so you have to build in each unless your franchise is already huge in the market place so that someone from each markets will be interested. I know people like the idea, but you are taking a 3 or 5 or 100 million dollar movie into a 30 or 50 or billion dollar category from inception. In a world where you cannot get a capable distributor to even consider a low budget film without a "name" actor attached - this is not a reasonable thought process IMO. Saying something is a "transmedia" franchise is an observation after the fact. It didn't start out that way absent the franchise already present in some mass market form. That is why IMO the term is misused and misunderstood - usually people are referring to what was and is still called in your various production and distribution agreements "ancillary rights" or derivations, adaptations, etc., which is more accurate.

Shadow Dragu-Mihai I get your point about audience targeting and the challenges with budget and distribution, but I think leaning too heavily on “audience-first” thinking can sometimes suppress originality. My approach is closer to how music is made, where you focus on building something unique first, then let the audience discover it. If we only follow what’s already proven in the market, we’re chasing trends rather than creating them.

For example, with my film Arubix, I kept adding layers of detail to the concept, new lore, worldbuilding, original weapons, and custom creatures until I ended up with over 20 new game mechanics and even utility mechanics that could apply to real-world military tech. The process organically transformed it from just a movie into something that could naturally be adapted into a game.

That’s why I lean more into screen-to-game adaptations or even vice versa. I build the cinematic foundation first, making sure the detail, lore, and mechanics are born from the story itself. Then, expanding into interactive formats feels like a natural extension instead of a retrofit. In my view, that’s how you make something truly transmedia-ready from inception, without relying on it to already exist in a mass market form.

Maurice Vaughan Absolutely feel that. The Jurassic genre still has tons of untapped potential, especially when it comes to exploring different time frames and perspectives.

Julien Ober I can see Memento as a high-stakes action or stealth-based game. Great pick, strong narrative mechanics in that one.

Mark my words, and I know they're rebooting the franchise... but I would LOVE and NEED to write that script for Resident Evil 4. That story scared me as a kid, and I loved every minute of playing it. And to adapt that game into a movie... I would love to write a script for Zach Cregger if he's to helm the 4th installment.

Love this question and your picks, Dwayne Williams 2! My suggestion would be a Kingsman video game. You could navigate an espionage plot to save the world, collect different weapons, suits, and gadgets to customize and evolve your character, and pick up spy skills as you infiltrate high-stakes environments.

I could also see something like Children of Men turned into an immersive, narrative-driven RPG with survival elements, there’s so much emotional weight and tension in that world, it would translate powerfully into gameplay.

Ashley Renée Smith Brilliant suggestions! I just rewatched Kingsman, and you’re right, it would make such a fun and stylish game. I’d love to design the mechanics for something like that, especially with all the weapons, suits, and spy gadgets to upgrade and customize.

Children of Men is also a fascinating pick, such a unique concept. Translating that world into an immersive, survival-driven RPG would expand the world in compelling ways.

You're welcome, Ashley Renée Smith. It's a must-read blog!

Maurice Vaughan Well sir , I’ve been creating the necessary pitch decks for it all, but I haven’t been able to find the right execs. to turn it into something tangible (yet)

Like, one exec literally told me this is too ambitious, you wont find anybody to “match your crazy” — because he thought no one would understand the layers.

And that kind of took the cake for me and is my running mantra as i have been pitching going forward "can You match my crazy ma'am /sir?"

I like that you turned it into your running mantra, Eddy Gun. A lot of big-name creatives and others have been told things like you won't find anybody to “match your crazy.” Keep networking and pitching until you find people who match your crazy.

Stage 32 has a blog that'll help you connect with creatives and industry professionals all over the world (www.stage32.com/blog/the-importance-of-community-and-collaboration-in-th...).

Stage 32 had a live Community Open House last week. It'll also help you connect with creatives and industry pros. You can watch the recording here: www.stage32.com/education/products/stage-32-july-community-open-house

Maurice Vaughan Thank you sir! And even though it might not have the same gravitas like it used to, because of our man DIddy :P "Cant Stop wont stop!"

You're welcome, Eddy Gun. Keep us posted on your projects.

Kay is amazing. She always knows how to inspire Dwayne Williams 2.

Hey, Dwayne Williams 2. I was thinking about this today. I bookmarked your post. These 3 core questions will come in handy when I build a Transmedia World. Thanks!

Appreciate you Maurice Vaughan. That means a lot. Glad the questions hit—been a big part of how I crack open worlds lately. Can’t wait to see what you build when you dive in.

I approach Transmedia by target audience, market, unique world, nuanced characters & a definable one or hybrid genre. Agree plot can be a separate bead along the string of “Whole” Transmedia but I always have plot ready for each slice of the eco system. EG Plot comic, novel, film. Expanding the world means many options.

Hey @Debbie, love the way you break it down—that ecosystem mindset is powerful, especially when you’re tailoring plot for each format from the jump.

For me I tend to stay away from trends as much as possible. They distract me from creating the worlds I see in my head. I usually dive in by fully immersing myself—building the world first, then letting the creatures or non-human characters take center stage. They often shape the entire tone before the human story even begins.

Respect your insight—it’s always dope hearing different approaches to world design.

Adam J. SpencerThat was powerful. The way you approach worldbuilding from memory, emotion, and real experience hits different. It’s a great reminder that originality isn’t about being flashy, it’s about being honest. Appreciate you dropping that perspective.

I watched the full gameplay for both Last of Us games, and I watched The Last of Us Season 1, Ashley Renée Smith. I'm looking forward to seeing Season 2!

I think The Last of Us qualifies as a true transmedia project. It's telling the same story in different mediums. I like when a company adds new things to the different mediums so it's not just copy and paste!

I would expand a story across platforms while maintaining emotional continuity by making a movie, show, etc. about each major character/their situations or the major events of the story.

Generally, IMO, there is no difference. Transmedia as a term, in most cases, really doesn't describe a thing separate from adaptation. It is, after all, adaptation by definition. For me, the only meaningful use of transmedia as a label would refer to a situation where the SAME audience actually follows into the other media. With few exceptions, that doesn't happen any more than it did before the term was a thing. For example, I did a show Vampire PI and a graphic novel adaptation - while the two supported the brand, the natural audiences did not cross over. Because graphic novel audience and movie audience are different in many ways.

Ashley Renée Smith I guess I'd better watch this series soon, considering it was filmed outside my window.

Glad to hear the SAG-AFTRA and major video game companies reached a tentative agreement, Ashley Renée Smith! And I'm glad the deal put the necessary A.I. guardrails in place that'll defend performers’ livelihoods! I'm looking forward to hearing what the guardrails are.

Ashley Renée Smith This seems long overdue.

I love the comparison to Impressionism at the dawn of photography. That's such a powerful reminder that true creativity often thrives in response to disruption. Great insight and much-needed perspective on how we can evolve with AI instead of panicking every chance we get!

@Geoffrey Great post on turning the imagined tech antagonist into a catalyst for personal growth instead. My two cents, AI is not the enemy but fretting about it is. Competition was always tough whether from other writers or bots now churning out submissions on mass. Sucks though translators, artists, content creators etc can lose their job as companies cut corners for cheap alternatives but that is a corporate choice over rogue AI. In one way AI lowering the bar for entry into the arts cuts out gatekeepers allowing anyone the freedom to dabble. Question is will the generated works continue to engage paying subscribers or even guarantee future audiences? That factor is hit or miss. Most obvious AI hits me when I want to engage on a human level, sub parr intelligence feels an assault on the brain. NOT saying all AI is inferior but formulaic emotionally dead blogs, contradictory fake conversation & script reads riddled with inconsistent story & plot line are readily accepted as the new normal. Instead of being taken over we must aim even higher. The long game isn’t new with many millennia behind us.