Thus far, the monograph has predominantly framed post-TV's transmediality in digital and/or online forms. But while such cross-media networks are paramount to horror television and twenty-first century TV in general, Freeman and Gambarato assert that ‘beyond the digital domain, transmediality can and should involve a variety of alternative combinations between online and offline platforms’ (2019, p. 4). This is because ‘the possibilities to enrich the audience experience via offline activities, live events, and analogue initiatives, are immense because they can dramatically contribute to (1) the feeling of immersion, (2) the sense of belonging, and (3) the emotional response of audiences’ (ibid.). The offline and analogue are equally as significant to post-TV horror transmedia as digital new media, yet the former is often neglected in favour of stressing the latter. Addressing this oversight, Chapter 6 focuses on physical real world transmedia.

Relatedly, while Chapter 5 located audiences’ image transtexts within online media's visual turn, Fan Studies has often ‘privilege[d] textual over tactile engagement’ (Rehak, 2014), neglecting more craft-based practices (Hills, 2009) and ‘object-oriented’ fans (Santo, 2018). Dovetailing these two points, this chapter explores two instances of offline material transmediality that cultivates a more holistic understanding of the post-TV horror (trans) media landscape, introduces novel fan practices and creativity, and further develops notions of horror audience affect understood through the abject spectrum model: the continuum of emotional/corporeal, ideological, and aesthetic affective responses to screen media horror.