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62] Digital Media and Storytelling in Higher Education articles from print periodicals (e.g., newspapers, tabloid magazines, and sports magazines). Non-fiction narratives other than mainstream media communication can also unfold in transmedia form. On its social media platforms, the German broadcaster Deutsche Welle and ZDF regularly supplement their news and documentary programs with digital stories, short video documentaries and, vodcasts. Swedish Aftonbladet photographer Magnus Wennemann photographed the children of refugee families and named his series Where the children sleep. Wennemann took pictures of children sleeping in railway stations and forests, writing a few sentences under the photos conveying the story of their escape.” Reuters, on its Wider Image blog, supplements its news with personal stories delivered through text and images. The Refugee families European odyssey post tells the story of a refugee family’s persecution and reunification”, while the Traces of migrants’ unfinished journeys post reveals the tragedy of refugees drowned at sea through found objects (e.g., wedding photos, mobile phones, necklaces).” The blog posts aim to break down the stereotypes of their readers by diverging from the agenda-setting themes and dominant perspectives found in mass media. Poverty and the lack of proper sanitation in a broader sense were highlighted in the transmedia posts Around the world in 45 toilets, which used an interactive map and photos to show 45 toilets from around the world.” Another sub-genre of transmedia storytelling is immersive storytelling, which offers additional elements to the narrative that can be received in physical space through VR glasses or QR codes. The term immersive refers to the fact that virtual storytelling is presented within the physical framework - for example, as a supplement to a thematic museum exhibition or as a supplement to a city walk (Pavlik & Bridges, 2013). The Far Eastern media world has its own transmedia storytelling traditions. Anime, the animated adaptation of Japanese manga, has a history going back several decades. South Korea has created its own version of the comic book genre, manhwa, which is designed for smart devices and utilizes a narrative approach called webtoon, a fusion of the words web and cartoon. South Korean manhwa artists work first appeared on websites in the 1990s. The first webtoons were initially digital stories in which cartoon drawings were used to tell the personal stories of their creators (Hancox, 2017, cf. Jin, 2020a). However, with the advent of smartphones, more and more specialized webtoon portals appeared in South Korea where visual content dominated and creators switched back from the audiovisual format to traditional drawn comics. The webtoon interfaces are characterized by the fact that the scenes are scrollable and arranged one below the other. The popularity of webtoons 2° http://darbarnensover.aftonbladet.se/chapter/english-version/ » http://widerimage.reuters.com/story/refugee-familys-european-odyssey » http://widerimage.reuters.com/story/traces-of-migrants-unfinished-journeys 3 http://widerimage.reuters.com/story/around-the-world-in-45-toilets?utm_source=Facebook
