of „transmedia storytelling‟
as a “process of
(Transmedia Storytelling 101, Pg. 1) whereby theencyclopaedic ambition of transmedia texts inevitably lead to
gaps in the narrative which the reader is inclined to „fill‟.
Long (2007) refers to this „space‟ as negative
simple references to people, places and eventsexternal to the current narrative provides hints to thehistory of the characters and the larger world in which thestory takes place
This empowers audiences to fill in the gaps
with their own imaginations”. In the case of
Harry Potterhowever, much of the histories, locations and eventsreferenced have roots in real world history
Aldabert Waffling, and Helena Blavatsky…Spell
-casting,numerology, fortune-telling, divination, astrology, palmistry,charms, crystal gazing, out-of-body travel, and spirit-
Wohlberg, 2005. Pg. 64-65).The act of
illing in the gaps
of any of theseindividuals or skill based pursuits in the Harry Potter seriesmay be interpreted outside the context of their appearances of
s books (i.e. in contexts associated with a Paganbelief system). In a world that is not independent of our own,the consequence of expansiveness in transmedia storytellingcould be perceived as the pursuit of knowledge of the occultand practices that may or may not be perceived to be Pagan.The idea that the inclusion of real world practices willresult in vicarious interest in those practices is not absurd.However, these references are almost prerequisites if theworld modified by Rowling is to be contextually plausible andcoherent.
In her essay „Harry Potter and the Witch hunters‟ AmandaCockrell refers to Harry Potter‟s adoptive family‟s