While multimedia
is a type of media that incorporates the usage of various content forms (i.e.
text, audio, video, etc.) to convey a message, transmedia storytelling is the
concept of promoting one single message (or product) across multiple platforms
of media. Typically, these products and stories represent what the current
cultural norms are, as media makers tend to push their agendas on the public by
creating content that appeals to consumers. Most would probably argue the film
making industry is the guiltiest of all culprits, as their products generally
turn into video games, apps, and spin-off television shows, and usually adheres
the agenda of the media conglomerate it belongs to.
Henry Jenkins,
in “Searching for the Origami Unicorn,”
writes: A good transmedia franchise works to attract multiple constituencies by
pitching the content somewhat differently in the different media,” adding that
while films appeal to a great diversity of viewers, video games appeal to the
narrowest, (Convergence Culture, 98).
But in my search
for a the premier example of transmedia storytelling, I was re-introduced to a
childhood favorite, and realized that this particular product had made its way
across media in an inverted order. Beginning as a video game for the Nintendo
console series, Super Mario Bros.
changed the world of video games, allowing players to operate a single or
multiplayer styled plot. As one of the first successful Role Playing Games,
Super Mario Bros. had a very simple, traditional objective: save the Princess.
This “boy rescues girl” concept has lasted centuries, and proved to be just as
victorious in 1985 when the game was first released, as gamers took on the role
of Mario, an Italian plumber whose ultimate goal was to rescue Princess Peach
from her castle. Other protagonists included Luigi, Mario’s brother, who
simultaneously fought to save Daisy, his love interest. Antagonists included
Bowser and King Koopa, both of which were responsible for keeping Princess
Peach kidnapped.
Super Mario Bros. was ranked first on Electronic Gaming Monthly’s “Greatest
200 Games of Their Time,” and second in Game
Informer’s “Top 200 Games of All Time.” The game was also ranked first on G4’s “Top 100 Video Games of All Time,
as it was noted for “almost single-handedly rescuing the video games industry,”
according to G4TV.com.
The success of Super Mario Bros. gave birth to several
other Mario series games, including Mario Kart, Mario Party, Paper Mario, Super
Mario 64, and about a dozen others.
Soon, the series wasn’t just available
on a Nintendo video game console hooked up to a television, but in the palm of
your hand. Devices such as Nintendo DS and other handheld electronics were now
supporting the Mario series. As
recently as August of this year, the Japanese designers created another
installment to the video game series: Super
Mario Bros. 3, available for the Nintendo 3DS. Stephen Totilo of the New York Times wrote, “Like all the best Mario games, New Super Mario Bros. 2 toys with our
capacity to discover, to understand and to adapt to a set of elegant rules that
has been evolving for 27 years and counting.”
But the popular
video game wasn’t just creating more video games; the Mario storyline was
making it’s way down other avenues. In 1993, Super Mario Bros, a film starring
Bob Hoskins and John Leguizamo as Mario and Luigi (respectively), made its way
onto the big screen as a movie based on the entire Mario franchise.
While the
film tanked, only making less than half of the $48 million spent on budget in
return, it was a sign that Mario was becoming more than just a video game. There
was also a movie series created for children called “Super Mario Bros: Mario’s
Movie Madness.”
Henry Jenkins,
in MIT’s Technology Review, wrote: “We have entered an era of media convergence that makes the flow of
content across multiple media channels almost inevitable. The move toward
digital effects in film and the improved quality of video game graphics means
that it is becoming much more realistic to lower production costs by sharing
assets across media. Everything about the structure of the modern entertainment
industry was designed with this single idea in mind-the construction and
enhancement of entertainment franchises.”
Soon, Super
Mario Bros. was becoming among these franchises.
As the
popularity and efficiency of cellular phones were increasing, the famous Mario theme song that had been prevalent
through each installment of the video game series was developed into a ringtone
that was ranked among the top ten for 226 weeks in February of 2009 in Billboard Magazine. The theme song was also
featured in concerts such as “PLAY! Chicago” and “The Columbus Symphony,” and
is often described as the hit tune of the ‘80’s.
Super Mario Bros. was also made into a comic book series,
one of three series umbrella-ed under The Nintendo Comics System. Replicating a
real life consumer-based product and advertising strategy, the comic book
series featured fake advertisements pertaining to the Mario storyline, such as
“Koopa-Kola” (named after series antagonist Koopa Troopa).
To help market and
spread the story of Mario even
further, a game guide series was created. Gamers could purchase full guides to Mario gameplay, learning all there is to
know about the games.
All and all, the
Super Mario Bros. series was a huge
success, not only in the world of video games, but in the world, period. It
thrived on the concept of transmedia storytelling, availed itself in many
avenues, and is still among the most popular and successful products
today.
Online Sources:
http://www.technologyreview.com/news/401760/transmedia-storytelling/
http://www.nytimes.com/2012/08/18/arts/video-games/new-super-mario-bros-2-for-the-nintendo-3ds.html
http://www.g4tv.com/top-100/478/super-mario-bros/
http://en.wikipedia.org/wiki/Super_Mario_Bros.
I am very enjoyed for this blog. Its an informative topic. It help me very much to solve some problems. Its opportunity are so fantastic and working style so speedy.
ReplyDeleteDOWNLOAD SUPER MARIO RPG ROM