Ebaleto's view on the wikipedia article was insightful on the importance of transmedia storytelling and the importance stories have when connecting with an audience and being relatable. One area that I would recommend to add within Transmedia storytelling that I dont see are the types of storytelling that a user can use within media to connect with the audience. Three types that I use for Public Speaking that could be added to your article are monotype, the mountain and petal structure. Monotype storytelling, also known as the hero journey, can provide the audience a story of triumph from the known into the unknown and what was accomplished from it. The second one is the mountain, this type of story is more dramatic, with highs and lows that can end with a cliffhanger and multiple actionable events throughout the chracters life. Lastly, there is the petal structure. The petal is four different stories that come together with one common theme. This provides even more ways to connect with an audience or reader, since you provide multiple ways for people to connect to you. I have used these types of stories for Public Speaking, but they are used equally as much for PR, Marketing and writing. YOu can learn more about the storytelling types here: https://www.sambuno.com/becoming-storyteller-8-story-telling-techniques-life-public-speaking-marketing/ If you wish to use these as additional points within your article.

Good Luck, Kholzer17 ( talk) 04:23, 21 June 2019 (UTC) reply

Looking at the lead by itself I feel satisfied that I know the importance of the topic. Looking at the lead again after reading the rest of the article, the lead reflects the most important information but could outline the article better by clearly stating the 5 main headings. The lead gives more weight to the problematic digital media use over other main points of the article. The problematic digital media usage is by far way more dense than any other section. I feel the digital technology usage examples and other disciplines were lacking in the lead.

The sections are well organized for the most part. I felt the section’s order could be tweaked a little instead of the current order it might flow better as: History and terminology Problematic digital media use Other disciplines Assessment and Treatment Digital technology use in mental health care Response of Large Technology firms

I think each section’s length is equal to importance to the article’s subject. Because the article is about digital media use and mental health it makes sense that the largest section should be the section relating the two and how the two impact each other. As I noted above, I think ‘assessment and treatment’ should be it’s own section because we have now moved on from the analysis of how digital media use and mental health affect each other and now we are talking about a solution to the issue at hand. I think each section was necessary and reflect all the perspectives represented in the published literature. The significant views were directly included in the other disciplines section. I don’t believe the article draws conclusions or tries to convince the reader to accept a particular point of view. If I were to describe the article’s language I would say it is clinical rather than emotional.

I do not think I could guess the perspective of the author by reading the article because there is no bias and the writing appears to be impartial. There is a sentence that uses the "While it's obvious that x, some insist that y." phrase in the introduction of the article stating “While mental health problems have occurred throughout human history, scientists are unclear as to the direct links between digital media use and mental health outcomes.” However, I do not feel this was an example or there were any examples of words or phrases that do not feel neutral.

This article does not make any claims on behalf of unnamed groups or people any more than academic journals do when referring to scholars they have cited correctly. The article does not completely bombard you with negative information but it does not sugar coat some of the very serious affect digital media use can have on your mental health. This appears to be a clear reflection of various aspects of a topic.

Most statements in the article are connected to a reliable source such as textbooks and journal articles. Although there are some, the author does not rely on blogs or self-published authors. There are not a lot of statements attributed to only one or two sources. The article is balanced and does not lean too heavily into a single point of view. From what I observed there are no unsourced statements in the article or statements that I cannot find stated in the references. The sources are both listed and presented accurately. — Preceding unsigned comment added by Ebaleto ( talk • contribs) 06:47, 23 June 2019 (UTC) reply

• Thanks so much for this peer review! Most helpful. I'll have a look at this in the coming week. -- E.3 ( talk) 11:50, 23 June 2019 (UTC) reply

intro Transmedia storytelling are stories told across multiple media platforms. As Scolari writes, a story might be introduced in a film, then expanded on in another media, such as television, comics, or a video game. Scolari tells us that transmedia storytelling is not just an adaptation from one media to another. Instead, the stories in the different media offer different entry points into the stories. Transmedia Storytelling describes the convergence of media, languages, and the way in which contemporary media systems are arranged or set out. Despite the theoretical chaos surrounding transmedia storytelling, this concept characterizes how multimodal narrative constructs create different consumers and establish a narrative society. In other words, the study of TS, a concept introduced by Henry Jenkins…

History of transmedia storytelling Transmedia Storytelling can be related to the concepts of semiotics and narratology. Semiotics is the "science of signs" as many scholars may believe and discipline concerned with sense production and interpretation processes (Scolari, 2014). Scolari goes on to show how semiotics and narratology can be a way to analyze transmedia. First ever text constructs its reader. Often the same test may create different kinds of implicit consumers. Narratology is a new narrative model based on different media and languages (Scolari, 2014). Transmedia storytelling is a narrative structure that breaks through both languages (semiotics) and media (narratology). Some effective strategies in transmedia storytelling include producing a fresh perspective on the original material and its original context across a new form of media. Transmedia stroytelling is how well a single story is comprehended across media. An effective strategy of transmedia storytelling does not take a passive approach, instead engages with popular culture making a story it’s own and providing a new context. When it comes to strict adaptation in transmedia storytelling which is translating one medium to another: a book becomes a film, a comic becomes a video game. There is also a history describing pure transmedia: the book is an exact prequel to the film, ending at the exact moment prior to the films beginning. The earliest example of this would be the Bible. During early ages when many people were illiterate, narratives were passed on verbally, through “live theatre” where they were acted out, or illustrations. Examples of

• Star Wars
• Star Trek
• Pokemon
• 24
• The Matrix
• The Blair Witch Project
• Avatar
• Lost
• Disney
• Marvel Comics and DC Comics

These examples were successful because of the impact their multi-platform storytelling became. Star wars (arguably the most extensive world built across platforms) The Blair Witch Project (their online marketing campaign marks the first use of web storytelling) Much of the Disney "formula" for youth products: this tends to straddle the nonexistent line between adaptation and TM storytelling but their franchise approach floods the market with multimedia examples. Many comics that have been adapted to video games, feature films, animated shorts, etc.: Superman, Spiderman, etc. (origin stories, sequels, spinoffs, etc.) Scolari uses the example of Pokemon. There are video games, television shows, and card games all that use Pokemon as a center and point of entry. There is no one text that is the origination of the Pokemon series.

Scolari uses the example of 24 to show how transmedia storytelling occurs. 24 originated on Fox as a TV series but within a few years, it had generated a complex network of comics, video games, books, mobile episodes, etc. around the main character Jack Bauer and the Los Angeles Counter Terrorist Unit (CTU). Scolari writes that 24 creates a complex semiotic device for generating multiple implicit consumers who can be classified according to their relationship with the media. At the first level, there are single text consumers or those who just read the comic or play the video game. The consumer can understand the story without having to consume the rest of the texts. On a second level, 24 constructs different single media consumers. Here a viewer can enter the narrative world by watching the TV series every week. Finally, 24 created transmedia consumers because there are different media across different platforms that the consumer can enter into.

Transmedia storytelling is apparent in comics, films, print media, radio, and now social media. The story is told differently depending on the medium. And now with the development of social media, the story is told differently depending on which social media platform (Twitter, Facebook, etc.) The scale in which the impact each medium has differs from medium to medium. Before social media, radio and print media were the primary medium to connect with an audience. With the advancements in technology, social media has become the best medium to reach a large scale of people in the fastest amount of time. In the ideal form of TS, “each medium does what it does best — so that a story might be introduced in a film, expanded through television, novels, and comics, and its world might be explored and experienced through gameplay. Each franchise entry needs to be self-contained enough to enable autonomous consumption. That is, you don't need to have seen the film to enjoy the game and vice-versa.” (Jenkins, 2003) For the purpose of studying transmedia storytelling and how information becomes spreadable across multiple media platforms, we can look at four strategies for expanding the narrative world of media texts. First is the creation of interstitial microstories. Examples of these are video games, online clips, or comics. Next is the creation of parallel stories. Here, the idea is to create another story that unfolds at the same time as the macrostory. Scolari uses the example of the mobisode 24: Conspiracy. Third, the creation of peripheral stories is considered spin-offs from the original stories. The example of 24 novels is used to show how texts have a weak relationship to the macrostory, but still connected to it. The final strategy is user-generated content platforms like blogs or wikis. These environments are open source story-creation machines that allow users to add to the fictional world. this could also be called fan fiction. Each medium reaches a different audience. Traditional medium’s such as radio, print media, and film, garner the Gen X audience because of the familiarity of that generation with those specific mediums. Scolari uses the example of Shrek-it is a film for kids, but some of the dialogue contains jokes that are meant for adults. Thus, the same text is creating at least two groups of consumers-children and adults or parents. The millennial generation uses a combination of mediums because of there awareness of traditional media and the advancements of social media. The Gen Z audience is drawn to the social media medium similar to the reason to the Gen X audience is drawn to traditional mediums, because of the familiarity of the medium.

Giovagnoli, M., Vaglioni, P., & Montesano, F. (2014). Transmedia storytelling: Imagery, shapes, and techniques. S.l.: ETC Press. Mcerlean, K. (2018). The Business of Transmedia Storytelling. Interactive Narratives and Transmedia Storytelling, 152-163. doi:10.4324/9781315637570-8 Scolari, C. A., Bertetti, P., & Freeman, M. (2014). Conclusions: Transmedia Storytelling and Popular Cultures in the Twentieth Century. Transmedia Archaeology, 72-77. doi:10.1057/9781137434371_5 — Preceding unsigned comment added by Ebaleto ( talk • contribs) 21:45, 12 July 2019 (UTC) reply