OTT & Transmedia

Maurice Vaughan I know what you mean. It fells cluttered with extraneous ‘action’. Overly long, would be another way to put it, perhaps?

I agree, Geoff Hall. Season 5 looks fantastic! The entire series does. I like some things about season 5. I think some of the characters making different choices, some scenes having more emotional impact, better pacing in some places, and less focus on Holly's storyline would've made the season incredible.

I watched the finale last night, Geoff Hall.

Maurice Vaughan hi Maurice, happy Sunday! I still have to watch the penultimate episode, so I’ll hold off commenting anymore till I’ve watched the grand finale. Did you watch it at home or in the cinema?

Happy Sunday, Geoff Hall! I saw the finale at home.

Thank you Maurice Vaughan and Haley Mary, I’m glad you like Iron Rain’s title :) I think it fits Ranmaru perfectly because it represents both who he was and will become (as well as what he can do).

And that’s very true Haley Mary, writing is an adventure~

You're welcome, Banafsheh Esmailzadeh. I don't think I've heard of a title representing those things. Thanks for the idea.

I like to create across games, anime, TV, and music videos/shorts Banafsheh Esmailzadeh, and when a world starts expanding on its own like that, I take it as a signal. When it happens, I step back and map the universe across platforms, outlining what version of the story belongs in each medium. I’ll build a separate outline for each format, with visuals and structure designed specifically for gaming, anime, or feature film.

If one platform doesn’t gain traction, I don’t see it as a failure. I’ll reframe the same core world and pitch it through a different format, because sometimes people connect to an idea more easily when it’s presented through the medium they understand best. It’s a powerful and genuinely exciting place to be creatively.

No worries Maurice Vaughan, most if not all of the titles in Petal are singular words that nonetheless have double or more meanings (for example Petal itself means an actual flower petal but is also Jiro's nickname for his girlfriend Hannah [whose full name in Japanese literally sounds like "petal"], and it's also a homophone for "pedal" because of Jiro's being a drift car driver), so I broke tradition a little bit with Iron Rain being a two-word title, and its companions once again by giving them more than two word titles lol. Duality is also a big theme in the series as well as most protagonists having more than one name so in Ranmaru's case I wanted to show both who we come to know him as in Seed (Iron) and who he is behind that name (Rain).

That's a great way of going about it Dwayne Williams 2. I'm going according to my own skills and how much control over the narrative I want, and predominantly for Iron Rain I do want it animated whereas the side stories I can see as single-episode comics if not also animated as special episodes. For Petal as a series, though, I have strong doubts about it translating well into anything live action, Seed is the only exception.

I'd like figurines made of my characters for collectors and kids, Banafsheh Esmailzadeh. I put a note/page about toys and other merchandise in my pitch material for some of my scripts.

Oh lovely Maurice Vaughan, and thanks for letting me know I can do this in my pitch materials. I might design some toys and figurines.

You're welcome, Banafsheh Esmailzadeh. Designing toys and figurines is a great idea! And who knows? A producer, director, etc. might see them and get interested in reading your work.

Wow, I love the idea.

I’ve been thinking about merchandise for my worlds. It would be incredibly satisfying to see someone wearing clothing inspired by my characters, or quotes that reflect each world’s lessons and vibes.

Dolls feel especially fitting for my fantasy characters.

I would absolutely love seeing it as a toy Banafsheh Esmailzadeh, and LEGO feels like the perfect fit given how they’ve historically expanded stories through transmedia rather than just merchandise. The value they added to Star Wars through LEGO storytelling is something I’ve always admired.

Dwayne, that’s exactly the kind of architecture IPBSE is built to support. You’re already doing the hard part — designing a core world that can hold multiple formats without breaking. The framework simply gives creators a way to memorialize that structure so the canon, the adaptation bibles, and the expansion logic are protected, priced, and ready for whatever format comes next. If you ever want to see how your world maps into that structure, I’d be glad to show you.

Thanks, Baron Rothschild. Appreciate that! I already develop full bibles per project, register copyrights, and pitch, so the underlying structure is in place with my studio. Thanks for reaching out, happy to connect if there’s a specific business-side angle where our approaches intersect.

Totally makes sense — you’re clearly already strong on the creative side.

Where IPBSE tends to intersect with established workflows like yours is on the business/documentation layer: mapping ownership, contribution history, valuation context, and the upstream structure that sits above the bible and before the pitch.

If you ever want to see how your existing materials translate into that upstream layer, I’d be glad to walk you through it — no pressure at all.

Thanks for the offer Baron Rothschild. I appreciate you taking the time to explain the angle. Always good to be aware of how different frameworks approach the business layer. I’ll keep it in mind moving forward.

Anytime, Dwayne — different frameworks reveal different leverage points. Glad the angle was useful.

This is such a fantastic breakdown, Waheed Rehman. I love that you highlighted how intentional and adaptive each of these transmedia examples has been.

As someone who writes in the fantasy genre and dreams of building transmedia worlds, I found your takeaways really inspiring. It’s true, you don’t need a Marvel-sized budget to build something lasting. You just need intention, passion, and a smart understanding of your audience.

I’d love to see you share more posts like this here in the Stage 32 Transmedia Lounge on a regular basis. You clearly have a strong grasp of what makes these franchises tick, and that kind of insight is invaluable for creators navigating IP development.

Incredible post, Waheed Rehman! "Transmedia storytelling works best when each platform adds a new dimension to the world. Repetition is boring." You're right. I don't want to just watch the same thing over and over in different mediums. I want to see new things and characters.

The Last of Us is a lesser-known franchise that's pushing the boundaries of transmedia storytelling. There's the games and the TV series, and I just found out there's a comic book miniseries. And I'm sure Naughty Dog could expand the transmedia universe even more with another console video game, TV spin-offs, console game spin-offs, movies, mobile games, etc.

Thanks so much Waheed Rehman for this breakdown. I've had to develop a few cross-platform IPs and, as a writer, really loved, opening up the world.

Exploring a lot of transmedia projects lately, and it's fascinating how storytelling can expand across different platforms without losing cohesion. While researching, I came across some interesting examples in sports media collaborations, and I realized how partnerships can really enhance audience engagement. For instance, I recently read about the 1xbet partnership which gave me a fresh perspective on how strategic collaborations work in practice. It’s definitely worth checking out if you’re curious about real-world applications beyond traditional transmedia narratives.

Shadow Dragu-Mihai, Esq., Ipg Companies like Iconic Arts are already proving that transmedia can be built from inception. They’re developing IP across film, TV, games, and merch simultaneously, separating the story and world from the format. So while the risks you mention are real, the industry is clearly moving toward designing transmedia at the start, not just after success in one medium.

https://variety.com/2024/tv/news/iconic-arts-studio-launches-la-tokyo-12...

“One thing that we do as a transmedia studio is separate the IP, the world, the story and the characters from the IP format,” Yazdani said. “That’s why we don’t call ourselves a film studio or a game studio … basically, we can do continuous storytelling with a unified narrative through new formats that come in the next few years.”

Game IPs are increasingly becoming the backbone of transmedia storytelling, evolving far beyond their original medium. We’re seeing titles extend into film, TV, comics, and even interactive formats that blur the line between entertainment and participation. A good example of this crossover can be found in the gaming sector itself, showcasing how audiences are drawn to interactive, narrative-driven spaces, such as live dealer casino games, that feel immersive and connected across platforms. It highlights how the demand for engagement is shifting—people don’t just want to watch or play; they want to experience a world. That’s exactly why strong IPs have the power to anchor transmedia strategies in the years ahead.

Absolutely right, Fred Smith, I couldn’t agree more, strong game IPs are becoming the anchor for immersive transmedia worlds.

Lemon Kovronskiynick Interactive storytelling shows you truly understand your audience. It reflects how well you grasp not just what they want to see, but how they want to experience it. It’s also great to pick a story you can visualize clearly in your mind, one that stays exciting as you build it out, and can handle added layers without losing its core. Once you find that kind of project, that’s the one to expand.

Totally agree. It’s exciting to see games treated as the foundation of an IP rather than the final step. Developing Astro Burn across game and TV at the same time feels like a smart way to keep the world, tone, and ownership aligned from day one. It also shows how important it is to think about structure early, not just creatively but strategically, so the IP can grow naturally across formats. This kind of ecosystem thinking is something we’re seeing more often online in general, where platforms are built around a clear core and then expanded in a coherent way. A good example outside of entertainment is https://magyarkaszinooldalak.com/, which works as a centralized information hub for online casino content, organizing guides, comparisons, and related topics around a single focus. In both cases, having a strong foundation makes it much easier to scale into new areas without losing clarity or consistency.

Dwayne Williams 2 hi thanks for traditional definition, it’s something I’m aware of, but my question was relating to it not being fit for purpose or already dated may be a better way of phrasing it.

Holly Fouche thanks, I like the simplicity of this choice.

Hi Mandi, one term I mentioned earlier that may be useful in this context is “Super Story.”

It’s used in education and development to describe a story world designed to naturally extend across generations and mediums (including theatre, audio drama, art installations, film, TV, and interactive), without being tied specifically to digital-first assumptions.

I’ve found it helpful as language when “transmedia” feels dated or too narrowly defined.

Mandi Allen Why not just "adaptation" - that's the actual term used in industry and it's descriptive.

Transmedia, (as was told in 3 film schools) is not same story, shared across platforms aka Multi Media. The story strands morph/grow/prequels/ sequels/relocate. Each part of the eco system, tells another part of a story & from a different POV. Audiences can be 4 quadrant & even cross pollinate the genres. EG Vintage Noir adult thriller film 1946, characters back story novellas 1920’s for all ages, comic, novel, social media & avatars etc.

Thanks for sharing the video, Geoff Hall. I think a three company town would be terrible for the industry and indie producers, writers, etc. Less jobs and less original movies, shows, and more.

Maurice Vaughan thanks Maurice, how would the distribution strategy for indie films change if this did happen?

You're welcome, Geoff Hall. I'm not sure. Hopefully it doesn't make things worse for indie films.

Well it's only a 4 company town now...

Happy holidays and IYW, Dwayne Williams 2! Introduce Yourself Weekend is already going great! Yeah, let’s finish this year on a positive, collaborative note and head into 2026 with stronger connections and momentum!

Thank you, Maurice Vaughan. Same to you. I agree, it’s been a really solid year creatively and within the community. What’s one screenwriting lesson that stood out to you this year?

You're welcome, Dwayne Williams 2. I watched a movie this year where one character did something early in the film and his adult son did the same thing later on. It showed how the son was becoming like his dad.

That sounds interesting, Elle Bolan. I like it! I'm looking forward to watching your verticals and shorts! Stage 32 put out a blog a few months ago called "Stretching Your Story: Transmedia Storytelling For Creatives Who Think Bigger." www.stage32.com/blog/stretching-your-story-transmedia-storytelling-for-c...

Ooooh! Thanks, Maurice!

You're welcome, Elle Bolan. Let me know when your verticals and shorts come out. I'll help promote them if you like.

Elle Bolan Verticals are trending as an idea but not known to advance story EXCEPT that they are proven effective in attracting audience to your longer form installments. If you are going to do verticals, be aware that the format is it's own thing and you must keep the aspect ratio in mind. It truly works different in view, but also in timing, from standard 16:9.

@Shadow great point to highlight. I don't intend to use them to actually advance the story, so I'm in good shape there. More just to compliment. They won't tie into the plot at all... Sort of like collateral damage stories. Townsfolk that are effected by the Scale, but don't tie into Bect and his story in The Regal Scale main series.

I'll keep this in mind as I plan. Thank you!

Hi, Banafsheh Esmailzadeh. I haven't seen Neon Genesis Evangelion, so I skipped to the last paragraph. I wrote a short script that has potential to be a feature film, a TV series, etc., including spin-off shows of important characters. I mentioned it in the one-sheet I made for the short script.

That's great Maurice Vaughan, definitely a lot of room to play with there :) and I definitely recommend you watch Neon Genesis Evangelion, it's a classic.

It's on Netflix, Banafsheh Esmailzadeh. I'll check it out.

Banafsheh Esmailzadeh So are you considering to the theatrical reboot as a different medium from the series? Or are you referring to partial the use of digital process in Rebuild when you say different media?

Not necessarily Shadow Dragu-Mihai, Esq., Ipg, I meant the manga vs the anime, though Rebuild does indeed breathe totally new life into the story with the partial use of digital process (Ramiel is much, MUCH more terrifying in Rebuild). I read the manga before watching the anime and then I watched Rebuild, the continuity is different every time.