Askwith, Ivan
Gray, Jonathan
2008
Transmedia Storytelling and Media Franchises
in Andersen, R et al ~ Battleground: The Media

Mentions “storyworld” on page 521.
References offer some texts I can quote for:

• Dawson’s Creek
• Babylon 5
• Twin Peak

519
Definition-transmedia:
Definition-transmedia storytelling:
“Taken by itself, the term “transmedia” simply describes the process of content moving or expanding from one medium into another. As such, transmediation can describe practices ranging from adaptation (e.g., turning a novel into a film) to merchandising (e.g., creating action figures in the likeness of film characters). However, the notion of transmedia storytelling is more specific, and is used to describe the process of further developing a coherent narrative (or elaborating a narrative universe) by distributing related story components across multiple media platforms.”

520
“While most major media franchises of the 1980s expanded to include both licensed merchandise (toys, clothing, breakfast cereal) and transmedia components (films, television series, video games, comic books), many of the most popular franchises were actually financed and launched by merchandisers to help sell their products.”

521
“are these transmedia extensions being developed primarily to tell better stories, or to generate higher profits?”
“Meanwhile, each “platform” serves as an advertisement for the others, and hence for the whole, thereby allowing media corporations to make money from their advertisements.”

521f
“The most significant shift toward horizontal integration and media franchising came in the 1930s, when Walt Disney introduced a new business model that he described as total merchandising. Under this model, all Disney products served dual purposes: branded merchandise, television shows, animated movies, and amusement park rides all simultaneously functioned as entertainment and as advertisements for every other Disney product. Disney’s characters were not the first to be featured on merchandise or appear in multiple media, but they were almost certainly the first characters designed to serve as entertainment “brands.””

522
Description of The Lost Experience.

523
“The 1980s, in particular, brought an explosion of youth- focused media franchises. Countless film, television, and comic book characters were introduced (or reintroduced) as transmedia franchises, complete with comic books, multiple cinematic releases, animated television series, and a wide range of toys and branded merchandise. In fact, during the 1980s, many of the most popular entertainment franchises were launched not by media companies, but by merchandisers and toy manufacturers looking to build audiences (and markets) for their properties (see “1980s Media Franchises” sidebar).”
“But while branded bed linens, breakfast cereals, and soft drinks encourage children to consume products, it is important to recognize that toys, games, and many other franchise products can enable children to interact with, and take control of, a franchise’s stories, themes, and characters.”

524
“These [The Matrix’] problems indicate the degree to which transmedia stories must now carefully balance some viewer’s desires to dig deeper into the story world with other viewers’ desire not to feel left out.” -> You could simply ignore the casuals, but then you won’t get their money!

525
“From this framework, we might then understand today’s expansion of storytelling across media as providing greater opportunities for involvement, and as representing development in narrative form and technique, not just an explosion in cross-media promotion.”

526
“One of the clear signs that transmedia storytelling might be developing new ways to tell stories, and not just new platforms from which to reap profits, is that many writers and directors are becoming intimately involved in the transmedia proliferation of their products.” mentions Simpsons, Matrix, Lost as examples.
“as many transmedia tales have also been synergistic goldmines for their corporate parents, often the economics of the media industries have encouraged media corporations to vigorously pursue and solicit projects that can cross various media. Concerns regarding the hidden persuasions of product placement and the monopolistic tendencies of synergy continue to exist, but they are now being accompanied by some writers’ and consumers’ excitement at the prospect of yet more developed story worlds.”