In order to explore the connections
between fan fiction responses to Twin
Peaks and written works from Marie Ryan and Eckart Voigt, one must first understand
what is being proposed in the essays. Marie Ryan's essay on "Transmedia
Storytelling" begins by introducing a new concept in popular culture and
its associated studies. This form of adaptation is said to be the “narrative
form of the (digital) future,” and it is built around what is termed “cult
narratives.” Transfictionality includes “the sharing of elements, mostly
characters, but also imaginary locations, events, and entire fictional worlds,
by two or more works of fiction.” It relies on three key factors: new stories
to the fictional world, plot differences in the original narrative, and
preservation of the main story, but with changes in time or setting. With
adaptation, the story remains relatively consistent and changes are sometimes
made to the fictional world. Conversely, in transfictionality, the fictional
world is the constant, and the story is either changed or expanded. Transmedia
narrative is currently debated, but according to the Producer’s Guild of
America, three or more storylines must exist within the same fictional universe
on a variety of media platforms. Adaptation,
therefore, is not transmedia if it only represents an existing story but does
not expand the fictional world. Transmedia prioritizes the world over the story
and is systematically dispersed over multiple delivery channels in order to
create a “unified and coordinated entertainment experience.”
Voight’s initial focus is on how
emerging technologies are challenging the “theory and practice of adaptation,”
with the internet allowing for performative models of adaptation. Cultural
reproductions (such as memes) require “user involvement,” and “derivatives” are
considered adaptions if there is a “sustained recognition where the adaptation
utilizes the text it adapts or appropriates with a purpose.” Recombinant
cultural data requires conditions in order to be spread (immediacy,
personalization, interpretation, authenticity, accessibility, embodiment, and
fundability) as internet phenomena. Further, digital media is beginning to
enter the world of adaptation studies. Fan fiction, fan edits, and fan dubs are
considered genres, which are “frequently produced by fans in voluntary
affiliation with transmedia franchises.” According to Voight’s essay, “More
often than not, the concept of fandom does not do justice to participatory
communities seeking an outlet for the message. Hence, the overwhelming fan
response to Twin Peaks, which one is
able to glimpse online by merely searching “Twin Peaks fan.”
A quick Google search reveals Twin
Peaks fan clubs, festivals, forums, FAQs pages, a Facebook page, blogs, a merchandise
collection (available at Showtime’s official store), and even Twin Peaks
themed-restaurants. This indicates that Twin
Peaks is an example of transmedia storytelling, which refers to “a
promotional practice involving merchandising, adaptations, sequels, and
franchising.” Franchising (in this case) indicates the dissemination of
material/ content across platforms, but transmedia storytelling also applies to
adaptations and appropriations that are not franchised. The transmedia goal is
to “create a sustained and intensified experience of fictional worlds,” and the
minds behind Twin Peaks have done
just that. Viewers can hardly wait for more banter between Agent Dale Cooper
and Sheriff Harry Truman. As with Sherlock,
the example used in Voight’s essay, Twin
Peaks also has multiple seasons, thoroughly engages viewers across multiple
platforms, and adds to the capitalistic coffers. The “notion of participation”
to which both Sherlock and Twin Peaks adhere, allows users to
“create, curate, circulate or critique content.”
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