The Hypothesis that is analysed in this work, is the following:
As the series Mad Men is a high quality series – full of external references and with a great range of complex characters and an unfolding storyline – the project gives much space and engages the VUP even more to interact and contribute voluntary different, creative media content to extend the transmedia storyworld.
The high quality series of the series is particularly proved in chapter 5. Narrative/gaming elements and chapter 10. Aesthetics. It offers the VUP to expand his media literacy, especially if the whole range of transmedia extensions is viewed, used or played or even more if the fan fiction is created. Remarkable is also that critiques praise the project „Mad Men“ for its educational potential.
In general, significance can be seen on the merchandising products, which mostly represent the flair of the 1960ies and conveyed in the today‘s world, in the real world. Through the immersion, the VUP experiences these items, he can dive into the sixties, but perform his identity at the same time.
But what could be improved? Separate, simple flash-games are already integrated, the whole Mad Men, a kind of Augmented Reality Game could follow. The VUP would have to solve tasks until he or she see the next episode. As Mad Men is a Television Series, it is probably not lucrative to combine online distribution of unseen episodes and broadcasting the episodes later. At least the experience could be improved through Long calls „Interactive Storytelling“. This is a sort of digital notebook that keeps track of the episodes, which are already watched and the ones which are not yet consumed and might have a possible restriction of availability of new chapters until previous chapters have been consumed.
Especially, for the period, when the fans are waiting for the next episodes/seasons, he or she should be kept interested and curious. So, that extensions like webisode or mobisodes with content for lesser-tier characters might be produced.
Even if not from producer‘s intention provided, like in the Twitter case, the storyworld encourages the fan. The Twitter-case leads to the conclusion that AMC apparently missed out the opportunity to collaborate with the fans and to increase the engagement of fans through even richer content and the option to perform and interact with and influence the official story. The storyworld of Mad Men invites the to explore the historic world in an active way, rather than in passive consumption.
The conclusion is easy, we just need „an increasing acceptance and recognition of the audience as not merely recipients of a story, but as co-creators in their own right.“