| by John Finnegan
Watching Prometheus and Alien: Covenant again got me reflecting on my initial experience with Prometheus when it first hit cinemas. As a prequel—at least in part—to Ridley Scott's legendary Alien, the film had an uphill battle from the start. It sought to expand the mythology of the Alien universe, but the results were divisive. While the movie itself is not inherently bad (in fact, I enjoyed it on the big screen), the aftermath saw a wave of backlash. Audiences and critics alike were left frustrated, primarily due to the film's tendency to raise more questions than it answered.
Why was David, the android, seemingly sabotaging the mission?
Why was Guy Pearce cast in heavy prosthetics for such a small role?
Why were the Engineers so hostile?
And where exactly did Prometheus fit into the Alien timeline?
These unresolved questions created a sense of confusion that alienated many viewers, leaving the film to be seen as a missed opportunity.
What complicates the picture is that many of these answers did exist—but not in the movie itself. Instead, they were scattered across a series of transmedia storytelling efforts, including viral videos, promotional websites, and supplemental materials. For fans willing to engage with these, the narrative deepened considerably. But for the average cinema-goer, this storytelling approach felt less like enrichment and more like a puzzle missing vital pieces.
Transmedia Storytelling: The Promise and the Pitfalls
Transmedia storytelling, when executed well, can add layers of meaning to a fictional universe. By using multiple platforms—websites, social media, video shorts, and even real-world tie-ins—creators can expand their narratives beyond the confines of a single medium. This approach is especially effective for building immersive worlds, as we’ve seen with the Matrix franchise (The Animatrix, video games, etc.), the Marvel Cinematic Universe, and even Star Wars.
However, Prometheus demonstrates the risks of using this approach poorly. Few were aware that Guy Pearce appeared in a fiction TED Talk, which brilliantly fleshed out his character, Peter Weyland, and his motivations, explaining why he was so central to the mission. But it was never featured in the film or even adequately signposted to audiences. Similarly, Dr. Elizabeth Shaw’s video logs and the elaborate Weyland Industries website were fascinating for fans who found them but were completely inaccessible to those who didn’t know they existed. This is not how to use transmedia storytelling in cinema.
These materials should have been enhancements rather than necessities. Instead, they became essential viewing for anyone wanting to make sense of the film, alienating viewers who went in expecting a self-contained experience.
The Dangers of Leaving Audiences Behind
Transmedia storytelling is an incredible tool for allowing audiences to explore the storyverse of a film, game or what have you. But if it's not signposted and made as accessible as possible to the audience, it can feel like a key chapter of the story left on the cutting room floor. When this happens, it risks creating a barrier between casual viewers and their story. Films, at their core, should stand on their own. Audiences shouldn’t feel punished for missing out on ancillary materials. This was the critical failing of Prometheus: its reliance on external content left many feeling lost, frustrated, and ultimately disengaged.
This issue extended to Alien: Covenant as well. While the sequel continued to build on Prometheus’ mythology, it too leaned on transmedia content—such as the viral “Crossing” video, which explained the fate of Elizabeth Shaw and David after the events of Prometheus. This scene, pivotal to understanding their arcs, was relegated to an online short rather than included in the film itself.
Another example of transmedia storytelling gone awry is the return of Emperor Palpatine in Star Wars: The Rise of Skywalker. Palpatine’s dramatic comeback—a pivotal plot point in the film—was first revealed not in the movie itself but in Fortnite. Players who participated in an in-game event were treated to an audio broadcast of Palpatine’s message, a detail that served as the in-universe explanation for his return. However, audiences who didn’t play the game were left bewildered, as the film skipped over this crucial setup entirely, leaving many scratching their heads at the abruptness of his reappearance. This reliance on external media not only frustrated casual fans but also underscored the risks of assuming that all viewers would engage with supplemental content to fill in narrative gaps.
The problem isn’t the concept of transmedia storytelling—it’s the execution. For it to work, creators need to ensure the core narrative remains clear and compelling without requiring additional context. Supplemental materials should enrich the story for those who seek them out but never at the expense of the primary audience’s experience.
How to use transmedia storytelling in cinema: Lessons from Prometheus
The backlash against Prometheus offers valuable lessons for creators exploring transmedia storytelling:
Make the Core Story Accessible: The film or primary medium must be able to stand alone. Supplemental content should add depth, not clarity.
Signpost Additional Content Clearly: If there are transmedia elements, they should be well-publicized and easy to find. Integrating QR codes, in-theater promotions, or after-credit tags can guide audiences to explore more without leaving them in the dark.
Integrate, Don’t Fragment: Key pieces of narrative shouldn’t exist solely outside the main story. If something is pivotal, it belongs in the film.
Test for Casual Viewers: Not everyone is a die-hard fan. Test the story’s coherence with an audience unfamiliar with the transmedia elements to ensure it works independently.
The Double-Edged Sword of Innovation
Prometheus remains a fascinating case study. Its ambition to use transmedia storytelling to enrich its universe was admirable, but the execution faltered. For fans who connected the dots, the experience was rewarding. For others, it was alienating—no pun intended.
In hindsight, had Ridley Scott and his team integrated more of these materials into the film itself or made their existence more apparent, the reception might have been very different. This is a reminder for storytellers: innovation is powerful, but only when it enhances the story for all audiences, not just the select few who dig deep enough to find it.
Ultimately, Prometheus serves as both a cautionary tale and a beacon of what’s possible in transmedia storytelling—a medium that, when handled with care, can elevate stories to new heights.
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