Abstract: The transmedial narrativity of DeLillo's postmodern fictional and filmed Cosmopolis achieves the somatic narration via its dialogic characters/roles as somatic signs in them, with its unnatural narrative attributes presented before its audience, implied audience and viewers and implied viewers in the possible world:a limousine. Thus its configured archetypes, identity or its void, somatic narration and progression cognitively and even its adaptological fidelity as well as the essentials of narrative, semiotics and adaptology have been staged.