The Vast World of Vast Narratives, Fandom and Participatory Culture

What makes a narrative vast, according to the contributors to the recent MIT volume Third Person? Based on the varied content, spread across multiple media, covered by the book, vast narratives receive their designation not only due to the interior nature of the narrative, which may span unusual lengths when measured in years, amount of content produced, number of media in which the world is present, among other features (Harrigan and Wardrip-Fruin 2). Yet the volume is also vast, as in catholic, given its broad interpretation of what constitutes a narrative: consider outsider artist/author Henry Darger's inclusion alongside other constructed worlds and universes of comic books (Ford and Jenkins), traditional paper and pen gaming (Laws), video games, television programs whose mythologies extend beyond the reach of traditional broadcast and into transmedia, such as in the case of Lost (Lavery). (In the interest of full disclosure: Lost is of particular interest to me at present, as I only discovered it last semester, watching five seasons on Netflix while I read about the show elsewhere.)