From Here to There: Transcending the borders of Kings Landing
How does a heavily fantasized world of knights and kings, sorcery and mythical creatures captivate and enchant a global audience from all backgrounds? Its simple, create a world that reaches fans merely beyond ‘the box,’ a world that invites them in and keeps them hungry for more, even when production times extend to 6 months or beyond. This is exactly what HBO, the mastermind production company behind Game of Thrones, has done. The success of Game of Thrones can be attributed to HBO’s innovative marketing campaigns and their ability to engage fans on a deeper thought and sensory level, across multiple media platforms. I too have been hooked on the saga that is Game of Thrones. As I investigated exactly how vast the Game of Thrones world that HBO has created extends, I found myself falling deeper into a universe that I didn’t want to leave…
Firstly theorized by Henry Jenkins, is the idea of Transmedia storytelling, a new aesthetic which places higher demand on consumers and has emerged in response to media convergence. Transmedia storytelling is essentially the art of world making. It presents a way to extend stories across multiple media platforms in order to create a coherent and separate, but interwoven world. This in turn adds a whole new sensory dimension to fans experiences, inviting audiences to experience the show beyond ‘the box.’This is exactly what HBO have done with Game of Thrones. To fully experience the ‘realm’, audiences must assume the role of hunters and gatherers, chasing down bits of the story across media channels collaborating with other fans along the way. This process culminates in a richer entertainment experience as a reward for all their effort.
The following videos, accessed here and here, which have been created by marketing company Campfire (who have previously been engaged by HBO) illustrate the extent to which transmedia strategies have been implemented in past seasons.
The effective implementation of transmedia storytelling within the ‘realm’ has culminated in constant fan engagement and conversation around the show on social networks. HBO has been able to ride the wave of fan’s organic social interaction around the show by getting involved in their conversations; whilst simultaneously using creative campaigns to “stoke the fire” during and between seasons. The most memorable campaigns have involved bringing to life key pieces from the show. These include the Iron Throne at the Tower of London, a glacial Iron Throne in Covent Garden and a Dragon Skull on the Jurassic Coast (an English Beach). These campaigns are in addition to social media and Tumblr campaigns such as ‘A Beautiful Death’ and ‘Roast Joffrey.’ All of this illustrates HBO is actively encouraging and using digital strategies to share annotated and re-appropriated media content from fans amongst fans in online communities and the public sphere.
Illustrative of just how captivated fans are with Game of Thrones, is HBO’s ambitious plan to “simulcast” (i.e. simultaneously broadcast) episode one of season 5, which will reach audiences in more than 170 countries and territories. With season 5, HBO are aiming to create a “global television event,” showing the dominance and true measure of success Game of Thrones has attained. This success has only been possible through all the fan engagement HBO has encouraged and marketed during the past 4 seasons. Fans appetite is so insatiable that the season 4 finale was the most pirated single episode of 2014, generating an estimated 8.1 million illegal downloads, an extraordinary feat by any standards.
HBO’s commitment to return back to quality television is another key to Game of Thrones’ success, as evidenced within the characters, who add a ‘human’ dimension and an identity audiences can relate to. As Matt Selman, executive producer of the Simpsons remarks, “[Game of Thrones]…is an incredibly well-observed character drama about human nature and the nature of politics and power.” Further Natalie Dormer, who plays Margarery Tyrell, remarks “It deals with all the problems and issues we deal with in our daily life; marriage, war, mortality and religion…but its safely encapsulated in a fantasy universe, so as to [be] not too close to home.”
From its humble origins as an essentially unknown book series by just another fantasy author to an epic TV saga that has kept audiences captivated and enchanted for almost five seasons to date, Game of Thrones is a success story many TV networks can only dream about. However, this success has not been without a price. HBO has invested a vast amount of time and money into making Game of Thrones what we now know it as, a pop culture phenomenon. As we draw closer to April 13, the Australian date for the premiere episode of Season 5, I have but only a few parting words to give you, my readers, Justice has a Price.
