In fact, almost every tweet during the jump process is accompanied by an image. Consequently, users may recreate a similar narrative, cognitive construct, regardless of their 'preferred mode of reading' - for example if they are more visually oriented (Baarspul 2012: 26).
hyperlinking to other platforms such as Instagram, the live jump feed and through hashtags,
RBS producers ensure cross-platform reading where Twitter may be purely linear and
text based. These techniques both expand the potential audience, and aid the
drillability of RBS.
outlines the possibility that users have to probe deeper into the storyworld (Mittell 2009). The 'Explore The Mission' image on the website's homepage gives potential for just that, which is continued
through the exploration of a drop-down menu linking to the blog. A
smaller portion of the audience will take the time to commit to each mode’s
demands in this way, but will do so in an engaged fashion
that encourages a hardcore fanbase (Bezemer and Kress 2008 cited in Unsworth and Cleirigh 2009: 154).
Having read the ambiguous text ‘The World’s Biggest Jump’, audiences are likely to play the video in order to discover exactly what the text refers
to. Not only is this encouraging drillability, but also demonstrates where cohesion
between modes (here, text and video) aids narrative stability, supplying the user with the missing components necessary to the story’s interpretation (Halliday and Hasan 1976: 299-300).
(2011: 71) states that TS’s aim is to promote
the communication of multiple audiences, provoking a more ‘active and privileged
contact with the brand’. This feature of drillability is recognised through
regular hashtagging of tweets, meaning audiences can discover user generated
narrative about the mission.
two concepts should not be seen as being in competition, but as
‘opposing vectors of cultural engagement’, seeking to connect with the widest possible audience (Mittell 2009). Employing
both techniques, the TN ensures that audience interest is maintained through
new levels of insight (Jenkins 2006: 96-105), in
connecting them more actively with the brand, unlike traditional passive
audiences (Giovagnoli 2011: 29). Ultimately,
this may lead to free advertising through content sharing, and the construction
of a loyal fan base.
Continuity vs. Multiplicity
Gambarato (2012, forthcoming: 5) argues that TNs must have storylines that direct the
user from one medium to another, all aiming to ‘spread the common goal’ in a
believable manner, defining the notion of continuity. All aspects of the RBS
website homepage assist in creating a similar ‘visual argument’ (Hafner and Jones 2012: 65). Through space themed
images and technical language, the Twitter feed maintains the website’s
narrative, demonstrating lexical cohesion through repetition of ‘mission’ and
‘capsule’ (Halliday and Hasan 1976: 274-288).
As aforementioned, impressive statistics throughout the tweets create a sense of believability. This sort of information is not evident on the website homepage, however rather than signalling continuity failure, highlights how an effective transmedia franchise presents content differently between each platform (Jenkins 2003). By including hyperlinks within the tweets, multiple entry points into the storyworld are provided, encouraging active consumption through cross platform continuity (Gambarato 2012, forthcoming: 5).
Interestingly, hashtags were used far more frequently during the jump than after, suggesting the producers’ attempt at intense narrative expansion at the campaign’s climax. However, notice the misspelling of Baumgartner’s name in the hashtag below: