Specifically, this study asked: 1) In what ways does engaging with a transmedia story influence how preservice ELA teachers perceive transmedia stories? 2) In what ways does reading a transmedia story influence how preservice ELA teachers perceive implementing transmedia stories in the classroom? and 3) In what ways does creating a transmedia extension text influence how preservice ELA teachers perceive implementing transmedia stories in the classroom? To investigate these questions, the study used Hawley- Turner and Hicks’ (2015) Connected Reading Model as a theoretical framework to conceptualize transmedia stories as a new literacy that encourages different ways of encountering, engaging with, and evaluating texts. The current study addressed this research need by investigating how preservice ELA teachers perceived, read, and created transmedia stories and how they saw implementing these texts in an ELA classroom. Research is needed on how preservice ELA teachers engage with transmedia stories and how this relates to their perceptions of teaching this new literacy. While researchers, scholars, and educators have begun to theorize about how such stories might benefit literacy and ELA education, little empirical research exists as to how these narratives are perceived by teachers and how this new literacy might actually be implemented in a classroom. Theoretical research has suggested that transmedia stories can be used in the ELA classroom to teach both traditional literacies and 21st century literacies. Transmedia stories are an emerging twenty-first century storytelling form where a narrative is told over multiple texts and media platforms and is often extended further by reader contributions. More research is needed, however, on the relationship between literacy experiences and pedagogical thinking for preservice teachers implementing new literacies such as transmedia stories. The personal literacy experiences English Language Arts (ELA) teachers have are an important factor in shaping their pedagogical thinking about literacy. I argue that although the games are unable to influence the narrative of existing Discworld books, they nevertheless constitute a transmedia relationship with the text, based on Jason Mittell’s (2012-13) ‘what if’ concept. It is via L-space that all books are connected (quoting the ones before them, and influencing the ones that come after) (1989: 11)’. Drawing on user reviews of the Discworld games from the board game website Board Game Geek, I suggest that these games fulfil a similar function to Pratchett’s textual concept of L-Space the idea that ‘Knowledge = power = energy = matter = mass, and on that simple equation rests the whole of L-space. Existing outside of the ‘official’ canon of the novels, as well as television and animated adaptations, the games nevertheless utilise information contained within those texts to affect game play. Quirky and original characters, a labyrinthine plot and numerous witty one-liners make this a treat for Discworld fans and 'unintitated' theatregoes alike.This paper draws on Jonathan Gray’s (2006, 2010, 2013) work on paratexts and Matthew Hills’ (2004) work on Discworld geography, to examine the role that the Discworld board games play in affecting fans’ meaning-making processes. Granny Weatherwax and Nanny Ogg, two Lancre witches, investigate, and are soon involved in all kinds of skulduggery, mayhem and ear-splittingly loud singing. A ghost stalked the dark corridors, leaving strange letters for the management and. POUNDER - ratcatcher SNR BASILICA'S MANAGER DEATH OF RATS ANDRE - a pianist SERGEANT DETRITUS - city watch, a troll CORPORAL NOBBS - city watch, a human? ARNO - the stage manager HRON - a stagehand KEVIN - another stagehand COLETTE - a dancer SOLANGE - another dancer GISELLE - also a dancer CORPS DE BALLET, STAGECREW, AUDIENCE, TRAVELLERS, BODIESĪll is not well in the Ankh-Morpork Opera House. GOATBERGER - a publisher TOMMY CRIPPS - scenery painter MR. PLINGE - Walter's mum SENOR ENRICO BASILICA/HENRY SLUGG - opera singer CHRISTINE - opera star MR. SLEDOM BUCKET - opera manager GREEBO - a cat in human form MRS. GRANNY WEATHERWAX - a witch NANNY OGG - another witch AGNES (PERDITA) NITT - not a witch WALTER PLINGE - a very odd-job man DR.
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