2. Objectives and methodology

This research began with the main objective of analysing the different transmedia strategies used with the series Lost through digital media. To this end, we have developed a series of specific objectives exploring the relationship and narrative construction adapted to different media. In short, the aim is to explore the unified construction of Lost’s narrative based on its expansion into digital media and platforms. Therefore, the importance and presence of the digital media is recognised as a fundamental part of the narrative construction of the series.

Considering the current context of consumption and communications designed for virtual worlds, this research focuses on the transmedia content created specifically for digital interaction media. However, it is understood that “ recognizing the transmedia function in a medium means recognizing the set of relationships of the frame with the sub frames offered by the combination of articulations and aesthetics” (Quiroga, 2016: 294). Then, focusing the analysis on the digital media makes it possible to recognise the coherence, the transmedia narrative design, and final repercussions to the plot as a result of the use of this practice. Consequently, this study also delves into the convergent actions carried out by the online communities of the series.

Using a qualitative, narrative case study, this research examines in detail a sample of different and continuing creations with Lost plots. These have been strategically created for virtual contexts. This sample is composed of three units of analysis that are the result of the digital transmedia production designed for the series. These cases are the webisodes for mobiles, the ARG called The Lost Experience, and the multiplatform video game Lost: Via Domus.

The plot of Lost offers many opportunities for the continuation and expansion of its story through other media generating a transmedia universe. In addition, this series has a community of followers who can evaluate the different strategies. Likewise, these can become business opportunities for production companies.

With the Internet, the mechanisms of information production, storage, dissemination, access and consumption have been modified, giving rise to new dynamics among producers, distributors and consumers (Rodríguez, Paíno and Jiménez, 2016: 306).

In order to develop the qualitative observation of the matter, it is necessary first of all to construct a quantitative study focused on the analysis of the content of the different cases that have opted for this practice. This has been carried out according to its narratology, transmedia conception and relationship with the audience. We have made an observation in each unit of analysis exploring the idiosyncrasy of the project and its feedback with the main story. Once this consideration has been carried out, it is possible to construct a global vision of the narrative structure of the series. Hence, we are paying special attention to the opportunities taken by the different virtual media analysed. As we have seen, these are three different digital creations that have generated their argument and offer in relation to the story of the series maintaining a strategic point of view. Therefore, an analysis classification has been developed taking into account those products directly related to television production and its transmedia character.

These results are considered as primary sources of information within the research as they assemble the object of study and explain the importance of a digital narrative project within a transmedia strategy. They all work separately but at