Video game studies have previously explored how gamers can be thought of as engaging in fan-like practices (e.g., Newman 2008, 69-88; Crawford 2012, 102-104), but in this chapter I’m interested in analyzing how “gamers” and “fans” can act as different interpretive communities in relation to one transtext. My case study is Star Trek: The Videogame, developed by Digital Extremes and co-published by Namco Bandai/Paramount (Consalvo 2009, 136). This game was released in April 2013 before Star Trek into Darkness premiered in American and UK cinemas the following month, and its narrative offered a prelude to J.J. Abrams’ second Trek movie.
|Title of host publication||The Rise of Transtexts|
|Subtitle of host publication||Challenges and Opportunities|
|Editors||Benjamin W.L. Derhy Kurtz, Melanie Bourdaa|
|Place of Publication||New York|
|Publisher||Routledge, Taylor & Francis Group|
|Number of pages||17|
|Publication status||Published - 20 Sep 2016|
|Name||Routledge Research in Cultural and Media Studies|
|Publisher||Routledge Taylor & Francis Group|
Hills, M. (2016). Star Trek into Divisiveness: The Transmedial Failures of Star Trek: The Videogame . In B. W. L. Derhy Kurtz, & M. Bourdaa (Eds.), The Rise of Transtexts: Challenges and Opportunities (1 ed., pp. 119-135). (Routledge Research in Cultural and Media Studies). Routledge, Taylor & Francis Group.