This paper has investigated The truth about Marika project under two different, but similar, analytical lenses: the guidelines offered by Stickler and the seven transmedia core concepts formulated by Jenkins. Christy Dena (2009) already stressed that  ARGs are often transmedia experiences, never the less this analysis found, once again, that even if The truth about Marika is usually referred to as an ARG game, it incorporated almost all aspects that make a project a transmedia experience.

  • The built of a transmedia Universe was crafted both by the production team and by the participants.
  • The immersion in the story world became so deep that raised some ethical questions in relation to the call for limits in the  blurriness between fiction and reality.#
  • In terms of television target audience and its engagement, The truth about Marika was not a success suffering from inappropriate SVT audience base and budget contraction that effected the visual narrative.  On the other hand, in terms of alternate reality game experience The truth about Marika turned to be an enjoyable project highly appreciated by participants.
  • In terms of academic and field case study The truth About Marika represented a unique European case study that was awarded an International Interactive Emmy Award  for Best Interactive TV-service in April 2008.

Is then  The Truth about Marika a unique European case in the interaction between national television and transmedia producers?  and is SVT experiment something that will not be repeated on national television?

BBC in their in drama commissioning page , states ‟ We are looking to find major multiplatform dramas which allow the user to explore the world of a drama. . . . by allowing the audience to engage and become involved with the characters and their world . . . We want to allow our audiences to explore and create the new worlds originally imagined by the linear narratives and to be able to share their experiences and ideas with others . . . We want to . . . expand linear program[s]. Enhanced dramas should give real added value to the experience of the linear drama, providing extra content which widens the horizon of the drama. We are looking to extend and deepen the [linear] TV narrative and allow audiences to create their own content in its world but without fundamentally changing it. Within these enhanced programs the audience should feel that they can discover exclusive material that gives them access to the characters and their lives and be able to share it with others.” ( Ursu etal, 2008 p.9)

Ursu, F.M ., Leurdijk, A., Maureen,T., Zsombori, V., Kegel, I. Williams, D.  Sussner, J., Tuomola, M., Myrestam , U., Lindstedt, I.,  Hall, N., Wright, T. (2008). Interactive TV narratives: Opportunities, progress and challenges. ACM Transactions on Multimedia Computing, Communications and Applications 4: 4, 25


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