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This talk´s plan
• My transmedial approach• Background for this project: previouswork• Project design• Timeline and status

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Real places asmedium?

Focus: transmedial worlds as inhabited and performed
Goals- To develop a theoretical framework andanalytical foundation- How transmedial worlds matter inpeople´s everyday lives
Approach- Combination of aesthetic and empiricalmethods- Cases: Star Wars, LOTRO, World ofWarcraft, Game of Thrones, Sherlock
Holmes, fairy tales, Japanese media
mix…
Mediatized user experience- Networked reception- Platforms: YouTube, Facebook, Twitter,
Instagram, Imgur, Amino…

WORLDNESSTransmedial experience

Our model, developed from McCarthy & Wrightdesire 1

experiencing more
• adapting• platforms• senses• media• reproducing• fleshing out• communicating

We enjoy experiencing the same stories in a new way, and also have a wish to display them to the world, to give them flesh indifferent media.

desire 2transforming• changing• extending• remixing• twisting• reframing• reinterpreting

Transformations are about reframings and reinterpretations, sometimes intended as homage, sometimes with an ironic twist… or both.

desire 3inhabiting

Tsurugajo castle (Fukushima), cosplay by Takanori Murayoshi

Tsurugajo castle (Fukushima), cosplay by Takanori Murayoshi

Habitable transmedial worlds allow for some reenacment that gives the "user" an experience that is richer than the act of looking. They
have to afford some sort of performance that goes beyond aesthetic appreciation

Inspiration behind this project: the complex Otome field site
1.
2.
3.
4.
5.

Seek entry points
Consider multiple types of network
Follow, but also intercept
Attend to what is indexed in interviews
Incorporate uninhabitable spaces, socialimaginaries
6. Know when and where to stop(Burrell)

1. Follow the people
2. Follow the Thing
3. Follow the Metahpor
4. Follow the Plot /Story/ Allegory
5. Follow the Life / Biography
6. Follow the Conflict(Marcus. “Ethnography in/of the World System”)

AbeLiterature review: tourism• The transformation of self (Harrison)• Tourism imaginaries (Salazar)• The relation to the hosts (Bruner)• The tension between tourist infrastructure = avoidance of “troddenpaths” (Bruner)• The tourist gaze (Urry)• Mediatization of tourist gaze (Urry & Larsen)• The tourist attachment in relation to film-induced tourism (Macioni)• Videogame induced tourism. Typology of tourists. (Dubois & Gibbs)

Literature review: Japanese media (tourism)• Kontentsu tourism as pilgrimage. Rich typology. Media providing“meaningful markers” (Beeton)• Contents tourism relation to ”cool Japan” (Yamamura; Seaton & Yamamura)• The sacred sites (seichi) of Otaku tourism. Building up alternative “smallnarratives”. Typical behaviour of otaku tourists. (Okamoto)• Rekijo, pilgrimage and pop spiritualism (Sugawa-Shimada)• Japanese culture (and space) as playable object (Hutchinson)• The fantasyscape as an alternative way of engaging withreality (Napier)The physical tourist• How commited are you?
• Serendipitous: oops, isn´t that thebuilding in that game we played?
• General: we might as well go toOdaiba since we are in Tokyo anyway.
• “Specific tourists are the mostdriven, self-actualization, pilgrimage,self-identity fantasy and romance are
all powerful motivations to travel”(Dubois and Gibbs)• What do you do?
• Photos / Offerings / SoMe posting /Merch acquisition / Cosplay /Interaction with locals (Okamoto)

Satire from

The traveller

Here I am different inside although I am
the same as the others outside. InAkihabara, I am different outside but feelan inside connection. So it somehow makes
me feel that it is ok to be different, and not
to fit anywhere really.

“holy shit, Don Quixote is an actual shop!”Comment to Yakuza Kamurocho-Kabukicho video comparison (You Tube)“I dragged my sister to the laundromat andwas all jumping around and saying I wished
we could wash a load and something magicalwould happen and she was pissed because of
the long trek in the heat and was all: “forGod´s sake, it is just a bunch of rusty washingmachines!”

Making the gameland as you go…
“Japanese cities are like icebergs, you see the street in
the surface, and then there are like seven levels above,in all the small shops in the buildings, and seven levels
below your feet. I feel like I am looking at the future,when we run out of place on earth, or colonize anotherplanet without a friendly atmosphere.”“All my life I have been looking for theplace which I first glimpsed in Blade Runner,and it sometimes appears when I am
walking around in Japan…”

Korean mall plans

Fantasy city, unknown author, Pinterest

A thicker worldness made of several layers

Comment to Shibuya in Persona 5 video (You Tube)

君の名は

In Kyoto,
hearing the cuckoo,
I long for Kyoto.
(Trans. J. Hirshfield)

Portrait of Basho, by Ichijun 1700. Cleveland Museum of Art, CCTransmedial imaginaries of place• Transmedial imaginaries are inspired by the idea of tourism
imaginaries as "shared, composite images of a place or people,
whether as general types or as particular destinations, held bytourists, would-be tourists, and not-yet tourists as a result of widely
circulating imagery and ideas.” (Leite, 2014: 264)
• The main research questions are: How are transmedia imaginaries ofplace constituted? How does a place become a medium in fictional
renderings across different media? Which characteristics are preserved andwhich made up? How do transmedial fictions connect people toplaces/spaces and in turn, how do people experience place as mediated bytransmedial fictions? In

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RECEPTION

tourist experiencesurvey andinterviews

PLACE

Ethnographic
Field Study

TRANSMEDIAL
KYOTO
京都MEDIA
analyses ofrepresentations
across platforms

PRODUCTION

reports, media
coverage, interviews

Project plan

Survey• Thoughts?
• Questions?
• Literature?
• Media?
• Places?
• People?

よろしくお願いします!