What makes a good story for the digital screen?

Harrison Addison | 45869728

Introduction
Stories are one of the most important aspects of narrative digital media, being one of the
fundamental elements that draws in and engages the viewer/player. From films to games,
adversely “good” stories in digital media all employ the use of a variety of different storytelling
elements in order to convey unique themes, ideas, and overall experiences.
In this essay I will be exploring and answering the question; what makes a good story in digital
media, by exploring the importance of the three most fundamentally important of these elements
(fundamentally important for the sole reason that it is essentially impossible to create a cohesive
story of any form without their use); narrative structure, setting, and themes before looking at an
example of effective storytelling in digital media and analysing why I believe that it is a good
example of effective storytelling. This will be achieved by identifying how the example utilises
the aforementioned “most important” storytelling elements, as well the methods and mediums
that it employs (such as imagery, sound, and interactivity) in order to convey them.

Analysis; fundamental aspects of a “good” story

Of the three fundamentally important storytelling elements that I named in my introduction, none
are probably more important than the narrative structure of a story as it works not only to
provide it with a framework that helps guide the viewer/player through the narrative of the
experience, but also enables the writer/s to craft the story structure in such a way that allows
them to emphasise important themes and ideas that they want the viewer/player to take away
from the experience.
The effective implementation of a clear narrative structure in a story contributes significantly
towards keeping the viewer/player engaged in the narrative as it constantly drives the plot
forwards throughout the entirety of the experience. According to a study published in Science
Advances; “The staging of a story tends to occur at its highest at the beginning of the story,
followed by a rise in plot progression, paired with a rise and fall in cognitive tension around the
middle-to-late parts of the story” (Boyd, Blackburn, & Pennebaker, 2020) [1], highlighting the
importance of having a clearly structured narrative that establishes a sense of progression and
cognitive tension as a means of retaining viewer/player attention and engagement. The Hero's
Journey, and the Three Act Structure are the most popular narrative structures used in digital
media both historically and currently, that utilise the basic staging-progression-resolution plot
structure outlined in the quote above, being found in most modern day narrative media,
especially in Hollywood film and tv. Both of these narrative structures provide a clear framework
for a story, allowing the writer/s to create a cohesive and engaging narrative that keeps the
viewer/player invested throughout the experience.
Harrison Addison | 45869728 | What makes a good story for digital screen

In addition to narrative structure, another crucial element of adversely “good” storytelling is the
setting or world in which the narrative takes place, as effective world building can contribute
significantly to immersing the viewer/player in the story, providing the audience with a deeply
engaging and memorable experience.
The setting of any one arbitrary story isn't limited to the physical/geographical place in which it
takes place however, as setting also refers to the context under which the narrative occurs,
which can add on to the believability of the world by providing an immersive context that is
consistent with the narrative that is being actively presented to the audience.
Having a convincing and believable setting is crucial not only in immersing the viewer/player in
the story being presented to them however as it is also a crucial element in providing the
audience with an enjoyable experience in the sense that it takes individuals away from their
mundane reality and into the world of the narrative. To quote Green and Brock; "One key
element of an enjoyable media experience is that it takes individuals away from their mundane
reality and into a story world. We call the process of becoming fully engaged in a story
'transportation into a narrative world’ "(Green & Brock, 2000; Green & Brock, 2002) [2]. Building
an effective setting plays a crucial role in this process of transportation as it solely provides the
necessary context and immersion for the audience to fully engage with the world of the
narrative. Ultimately, by constructing a detailed and believable world, the audience is more likely
to become invested in the story and experience a deeper level of engagement and enjoyment.

Of the three fundamentally important storytelling elements previously discussed, themes are
perhaps the most overlooked in regards to importance, yet they are crucial in creating a deeper
and more meaningful experience for the viewer/player. In the context of narrative storytelling,
themes can be defined as the underlying messages that writers want to convey to the audience
in an attempt to shape their understanding of the narrative and encourage them to think critically
about its implications. While not necessarily contributing towards improving the story itself, the
inclusion of deep and meaningful themes helps to elevate the narrative experience in the sense
that it has a significant impact on the player/viewers engagement, which in turn directly
contributes to the overall success and effectiveness of the storytelling.
This doesn't necessarily mean however that the inclusion of deeper themes in a story
automatically elevates the experience as very forced or didactic messaging can come across as
very overbearing and ultimately preachy, potentially turning off the audience. The effective
utilisation of themes in storytelling relies on messaging being extremely subtle, with the themes
themselves being woven into the fabric of the narrative as to not disrupt its flow. By doing so,
the players/viewers are allowed to draw their own conclusions about the underlying messages,
ultimately resulting in a more engaging and enjoyable experience.
When utilised and employed effectively, meaningful themes can provide a deep sense of
relevance and social commentary to the story, allowing the audience to reflect on the story's
implications in the context of both the narrative and the real world.

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Harrison Addison | 45869728 | What makes a good story for digital screen

SOMA; “good” example of effective storytelling in digital media?

One example of a piece of digital media that utilises all of the above elements of storytelling in a
masterfully effective and well thought out manner is the video game SOMA, developed by
Frictional Games.
The narrative structure of SOMA follows a classic Three Act Structure, with a clear exposition,
rising action, and climax, ultimately leading to a very polarising and thought provoking
resolution. All throughout, pacing is masterfully employed to keep players engaged with a
mixture of tense, calm, and very emotional moments that all ultimately build up towards the final
climax.
In terms of setting, SOMA attempts to create a dark and eerie atmosphere with its underwater
environment, a mood which is reinforced by the game's subtle, yet effective use of sound
design, and it's haunting soundtrack. The game also heavily relies on the use of environmental
storytelling throughout in order to provide context to the world of the game, providing and
experience that is both believable and immersive.
One of the most effective uses of storytelling elements in SOMA however is its exploration of
deep and thought-provoking themes, including the ethics of artificial intelligence, the nature of
identity and consciousness, and the human condition. These themes are woven seamlessly into
the narrative, and are not only thought-provoking, but also emotionally impactful. The game
asks players to consider what it truly means to be human, and whether artificial intelligence can
ever truly replicate or understand human experiences, which as themes are not just relevant to
the narrative, but also relevant to larger societal and philosophical issues, making the
experience even more meaningful and impactful.
Ultimately, the fact that SOMA as a game is able to seamlessly integrate all of the most
important fundamental elements of storytelling in a cohesive and impactful manner, solidifies its
place as a prime example of how the implementation of strong narrative structure, setting, and
themes can result in a truly engaging and memorable experience for players.

Conclusion
In conclusion, effective storytelling in digital media requires a combination of several key
elements, including narrative structure, setting, and themes. A well-crafted narrative structure
helps to keep the viewer/player engaged by establishing a sense of progression and cognitive
tension. Effective world-building, which refers to the context and immersion provided by the
setting, plays a crucial role in transporting the audience into the story world, ultimately leading to
a more enjoyable experience. Deep and meaningful themes add a layer of relevance and social
commentary to the story, encouraging the audience to think critically about its implications. By
combining these elements, writers of stories for digital screens can craft engaging and
memorable narratives that leave a lasting impact on their audience. As demonstrated by SOMA,
masterfully effective storytelling in digital media can not only entertain and engage but also
make us reflect on larger societal and philosophical issues. The power of storytelling is
undeniable, and when utilised effectively in digital media, it can create a truly transformative
experience for viewers and players alike.

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Harrison Addison | 45869728 | What makes a good story for digital screen

References

[1] Boyd, R. L., Blackburn, K. G., & Pennebaker, J. W. (2020). The narrative arc:
Revealing core narrative structures through text analysis. Science
Advances, 6(32), eaba2196.
https://doi.org/10.1126/sciadv.aba2196

[2] Green, M. C., Brock, T. C., & Kaufman, G. F. (2004). Understanding Media Enjoyment:
The Role of Transportation Into Narrative Worlds.
Communication Theory, 14(4), 311–327.
https://doi.org/10.1111/j.1468-2885.2004.tb00317.x

[3] Egenfeldt-Nielsen, S., Smith, J. H., & Tosca, S. P. (2019).

Understanding Video Games. Routledge. (p.207-240)
https://doi.org/10.4324/9780429431791

[4] Ben Welsh. (2015, November 15). A semiotic analysis of SOMA.

https://benwelshscript.wordpress.com/2015/11/15/a-semiotic-analysis-of-soma/

[5] The Ending of SOMA – And Why It’s Excellent. (2018, June 5).
PlayLab! Magazine.
https://www.tuni.fi/playlab/the-ending-of-soma-and-why-its-excellent/