Year Zero o cómo Nine Inch Nails rompió las barreras de Europa con una experiencia narrativa

Abstract

ResumenEl presente artículo tiene por objeto el estudio de las estrategias empleadas en el proceso creativo de la experiencia del alternate reality game (ARG) del álbum Year Zero (2007), de la agrupación Nine Inch Nail, como un caso de estudio de los aspectos por tener en cuenta a la hora de introducir un producto en el mercado global. Para ello, se realiza un marco teórico de los procesos de transducción cultural y, en particular, se expone el modelo analítico de los elementos esenciales en los contenidos transparentes basado en el mitotipo. Finalmente, se realiza una exploración de la morfología del 1 Este artículo es producto de la investigación Cultural Transductions Universals and Lacunae: An International Contra-flow Study (Código COM 62-2013) adscrito al grupo de investigación

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“…He defines a morphology of the mythotype, or the characteristics of the texts that construct myths for the purpose mentioned above, and he postulates that transparent texts exhibit some or all these characteristics. Noticeably, some of the characteristics exposed by Olson present many coincidences with the taxonomy of universals and lacunae described by Rohn (see Espinosa-Medina and Pérez-Guerrero, 2016).…”

“…Similarly, for 7GLab, after defining their strategy as the generation, planning and management of proprietary content, they have benefited from a business model of inter-industrial partnerships in which the content becomes increasingly ubiquitous across markets while mitigating the risk to the company. The two cases illustrate that audience-generated and company-generated universals can facilitate interpretation in multiple contexts (Espinosa-Medina and Pérez-Guerrero, 2016; Rohn, 2011; Uribe-Jongbloed et al, 2016: 150).…”

“…When present, these characteristics immerse the reader in a make-believe world that seems complete but presents gaps of information that invite the audience to fill them with content created within its boundaries (Jenkins and Wolf, 2013; Olson, 1999; Rohn, 2011). Similarly, in company-generated universals, producers provide multiple ancillary items, promotional material and other marketing pieces that make a content ‘omnipresent’, another morphological characteristic, while simultaneously establishing codes that guide the construction of meaning (see Espinosa-Medina and Pérez-Guerrero, 2016; Rohn, 2011; Uribe-Jongbloed et al, 2016). These sorts of elements are consistent with the last morphological characteristic, the production value of the content, which can generate hype and interest in the audience (Gray, 2008, 2010).…”