Even though there are broad stroke components that you can point to that describe successful transmedia properties, there is no definitive formula of, say, three parts narrative divided by three digital platforms and multiplied by two parts social media, which will yield a guaranteed success. What works for a particular project or audience may not work for another. It’s all about Audience Engagement Strategies.
A few years after the initial success of Sofia’s Diary, we were able to adapt it to 10 different territories and we thought we’d cracked the code to producing multiplatform entertainment. So we went ahead and applied the formula we’d used to develop and market Sofia, to different concepts intended for different target groups. We created a project similar in format to Sofia’s Diary called Looking for Miguel, which featured an older male character. We also developed a concept for an interactive fantasy adventure called Dark Siege. Both projects failed to attract an audience. Their floundering made it clear to us that different target groups respond in different ways to characters, plot points, and interactivity; a one-formula-fits-all was never going to work.
Even though Looking for Miguel and Dark Siege both failed to reach their targets, we more than recovered our financial loss by learning invaluable lessons about our trade. Interactive entertainment and the ways in which audiences react to it will change from project to project and from target group to target group. Moreover, the Internet changes daily; new digital platforms emerge and established platforms fade out. Remember Bebo and MySpace?